SATURDAY, MAT 31, 1947. /
SIR S.H. NICHOLSON,'
..BRITISH ORGANIST
. ,-V^ Jj?
Founder of School of Church
Music Dies Had Served
at Westminster Abbey
___m;
Special to THE Nw Yowc Tiiii.
LONDON, May 30 Sir Sydney
Hugo Nicholson, church musician
and former organist at Westmin-
ster Abbey, died today at Ashford,
JKerit. His age was 72,
Sir Sydney founded the Royal
! School of Church Music at Chisle-
hurst, Kent, after publication of
the report of a committee set up
by the Archbishops of Canterbury
and York to consider the pface of
music in the worship of the church
There were many sides to his
efforts to rescue church music and
{especially singing from -what he
I once said had become "a mere con
glomeration of words with wrong
accents." He was, however, par-i
'ticularly active in stimulating in-
iterest in and heightening the ef-i
;ficiency of choirs.
1 His services to church music
I were recognized in knighthood be-
j stowed upon him in 1938 and
earlier by a musical doctorate at
I Canterbury.
When Sir Sydney resigned In
1927 as organist of Westminster
! Abbey, a post he had held for ten
, years, he gave the reason for his
, action as a desire to devote his
! career to the founding of a college
of church music for the training
of organists and choirmasters to
beautify church . services.
"The usual colleges of music
| cannot adequately train leaders of
! church music because they have
not a choir," he said. "I hope to
have a chapel wherein a full choir
is maintained to help set the stand-
ards of church music, from which
all parishes may benefit."
Sir Sidney was educated at Rug-
by, New College, Oxford. He be-
came organist of Lower Chapel,
Eton College, in 1903; acting or-
ganist, Carlisle Cathedral, in 1904
and was organist of Manchester
Cathedral from 1908 to 1917. He
was a Warden of St. Nicolas Col-
lege, Chislehurst, and the com-
poser of a number of cantatas
light operas and much church
music. He was a member of the
\then aeum Club,
[OLA. Save thee, friend, and thy music : Dost thou live
by thy tabor ?
Clown. No, Sir, I live by the Church.
Viola. Art thou a Churchman ?
Clown. No such matter, Sir ; I do live by the Church :
for I do live at my house, and my house doth
stand by the Church.
Twelfth Night, ///., 7.
WESTMINSTER BRIDGH
WESTMINSTER PILGRIM
BEING A
RECORD OF SERVICE
IN
CHURCH, CATHEDRAL, AND ABBEY
COLLEGE, UNIVERSITY, AND CONCERT-ROOM
WITH A
FEW NOTES ON SPORT
BY
SIR FREDERICK BRIDGE
Commander of the Royal Victorian Order
King Edward Professor of Music in the University of London
Graham Professor of Music
Emeritus-Organist of Westminster Abbey
LONDON
NOVELLO & CO., Ltd. | HUTCHINSON & CO.
New York: THE H. W. GRAY CO.
Hi
I ; M
bebicatefc
Co my lOtfc
mfyose assistance anb
encouragement in compiling
tfyis u?ork ^ar>e been
invaluable
PREFACE
THE Canterbury Pilgrims, many years ago, probably
passed through the streets or in the immediate neigh-
bourhood of the old City of Rochester as they wended
their way to and from the Shrine of Thomas a Becket.
Their journeys lay through a diversified and beautiful
country, and though toilsome could not have been
without many happy days. Through the streets of the
same old City of Rochester, nearly seventy years ago,
I used to pass to and fro to attend to my duties
at the Cathedral, starting on the Pilgrimage recorded
in the following pages. My journey has been a long
one, my experiences very diversified. I have had as
companions, like the Canterbury Pilgrims, a varied
Company of all Professions and Ranks of Men. My
life's work has been attended with many joys and
some sorrows, yet my days have not been really
toilsome, and I have indeed been happy in my
opportunities. The notes of my life which I have
been tempted to put on record contain nothing very
remarkable, of that I am quite conscious. But the
duties which have fallen to me in connection with
many important functions at the Abbey will be of
some little interest to my friends at least. And
possibly the story of my career may be an encourage-
ment to some boy or boys in Cathedral Choirs upon
whom in due time the care of our Cathedral Music
may devolve. In the past the Cathedral Choirs have
furnished men who have nobly held to the best
traditions, and so I hope it may be in the future. The
difference between the present time, with its oppor-
tunities for young musicians, and the distant time of
viii A WESTMINSTER PILGRIM
my own youth is immense. Then, there was only one
Musical College, the Royal Academy of Music ; there
was only one scholarship (outside the R.A.M.) available
for young musicians the Mendelssohn ; there were
no Local Examinations in Music ; only one really
important orchestra (the Philharmonic) existed in the
whole country, excepting, of course, after a time the
Halle Orchestra in Manchester. Organs were incom-
plete and old-fashioned, Bach's Fugues could not be
properly executed upon them. And yet, with all
these drawbacks, I made progress, and my Cathedral
training laid a foundation upon which I have, at
various times, relied to see me successfully through
musical responsibilities of no light order.
Most of my life has been devoted (though not
exclusively) to the service of the Church. As boy
and man I have served under seven Deans, I have
worked with eleven Precentors, while Canons, Vicars-
Choral, and Choristers are too numerous to mention.
Outside the Church I have laboured at my Profession
as Conductor, Teacher in Colleges, Lecturer, and
University Professor. In all these various ways I have
tried to serve the cause of Music. Whether I have
done all that in me lay, readers of the following pages
must decide. But, at any rate, I can conscientiously
say I have done my best to fulfil worthily the duties
of any position to which I have been called.
LlTTLINGTON TOWER,
December, 1918.
CONTENTS
CHAPTER I. ... i
Duke of Wellington's Funeral Rochester Cathedral Mr. J. L.
Hopkins Private Theatricals A Barrel of Apples A Caning Incident
Mr. Miles An Ingenious Use of a Mirror Joseph Maas Launch
of the " Cressy " Landing of Princess Alexandra at Gravesend An
Ideal Precentor.
CHAPTER II. 18
Opening of the Crystal Palace by Queen Victoria Miss Hackett
and Sydney Smith The Crimean War Musical Evenings with Officers
of the Garrison Removal of the Old Stone Bridge Deans and Canons
of Rochester Mr. Whiston v. The Dean and Chapter Competition
for the Organistship of Rochester Quaint old Customs Two Terrible
Melodramas Rochester Subscription Concerts in the 'fifties Sims
Reeves at a War Concert An Historical Extravaganza.
CHAPTER III 32
First Organ Lessons Blind Fred as Critic An Obstinate Alto
Organ Interlude and the Man with the Glass-Eye Recollections of
Charles Dickens Early Appointments The Volunteer Band
Marching Past Her Majesty at the Hyde Park Review Humiliation
at a Review Jenny Lind in "Elijah" Hearing Wesley open an
Organ Pupil of Goss, at St. Paul's.
CHAPTER IV. 42
Canvassing the Parish Appointment at Windsor The Hawtreys
Private Theatricals Mrs. Oliphant Early Choral Works Life-
Guardsmen at a "Churching" "Reform" Election at Windsor A
Political Parrot Musical Degree Ouseley and the " Stretto maestrale "
Arthur Sullivan at Windsor Cathedral Appointment.
CHAPTER V. 51
A Stroke of Fortune Life in Manchester Professorial Work
Music in the Cathedral Inadequate Choir Mass Weddings New-
Organ A tremendous choral bass " The little ' beggars ' in front "-
Prescient Remark concerning " Gerontius " Mus. Doc. Degree
Hall at Manchester An Involuntary Immersion Refused Admission
to Westminster Abbey Retirement of Turle The Vacancy and Dean
Stanley " Choosing an Organist more difficult than choosing a wife "
Organist of Westminster Abbey.
x A WESTMINSTER PILGRIM
PAGE
CHAPTER VI. ... ... ... ... ... ... ... 70
Westminster Abbey Death of Turle Dean Stanley's r61e of
Musical Critic Dean Stanley and Bach's "Passion" Early
Difficulties with the Choir The Press and the Vicars-Choral " An
Error of Judgment " A Dental Interlude" Bellows v. Diaphragms "
Professorial Appointments: National .Training School and Royal
College of Music Sir George Grove and Sir Hubert Parry Three
Registrars of the Royal College Attwood and Mozart : Exchange of
Compliments Educational and Literary Publications The Caxton
Celebration.
CHAPTER VII. ... ... ... ... ... ... ... 90
First visit to Scotland First Salmon A Great Success in the
"Lower Beat "" Catch " to commemorate a Catastrophe "Sit
down on him " A Fishing Record on the Deveron Caught by the
Tail A Distressing Accident with a Fly The Valley of Glass
Anecdotes of the Minister "I gae'd oot at the window" A
Peninsular Warrior The Dominie and the "Examiners."
CHAPTER VIII. ... ... ... ... ... ... ... 107
A Grouse Drive Deer Stalking Sir George Martin and the Deer
Edward Silas and the "Amorous Goat" Railway Incidents Slatin
Pasha Debates in the House of Commons A Nocturne.
CHAPTER IX 117
Lord Tennyson's "The Goose" Presentation of the Musicians'
Company's Medal to H.R.H. The Prince of Wales (Edward VII.)
Bach ' s " Christmas Oratorio ' ' Music-makings at Worcester Festival
Festival Competitions Grieg and Dvorak at the Birmingham
Festival Visit to Gounod at Paris Processional effect in Notre Dame.
CHAPTER X. 128
Queen Victoria's Jubilee An Awesome Serpent Fenian Alarm : a
"Black Bag " in the Organ-Loft Queen Victoria at the Jubilee Festival
The National Anthem in the Abbey Lockhart's Jubilee Picture
A " Devoted Friend " at the Auction A Distinguished " Man Servant."
CHAPTER XI. 138
The Browning Memorial Service and Mrs. Oliphant The Madrigal
Society The Gresham Professorship Funeral of Lord Tennyson The
Marquess of Lome's Hymn Princess Beatrice's Bazaar Book The
Jenny Lind Memorial Death of Canon Prothero Musicians'
Company's Exhibition Dr. Pearce and the " Common C(h)ord."
CHAPTER XII 153
Purcell Celebration Purcell's Te Deum : A Dramatic Incident
Purcell Memorial in the Abbey Purcell's Residences Relics A
Purcell Myth Purcell Stops in the Abbey Organ Conductorship of
the Royal Choral Society A "Cabman Critic" A Contrapuntal
Waiter.
CONTENTS xi
PAGE
CHAPTER XIII. ... 168
Diamond Jubilee Celebration Knighthood Sir William Cowers
Sir William Crookes : "Timing" a Knighthood Dean Hole and
his " West Front "The "Flag of England "Mr. Rudyard Kipling
and his Poem Funeral Service for Mr. Gladstone The Duke of
Westminster and ' ' Westminster Bridge. ' '
CHAPTER XIV i 77
Coronation of their Majesties King Edward VII. and Queen
Alexandra Earl Marshal's Letter The Bishop of Winchester and
the Music Canon Armitage Robinson and his Valuable Work A
learned Gillie Musicians who contributed to the Service The Problem
of the " Vivats " A Veteran Singer from Wells.
CHAPTER XV 187
Coronation (continued) Composers and their Contributions Sir
Francis Bertie and Dr. Saint-Saens Rehearsals in the Abbey for the
Processions Postponement of the Coronation King Edward and
the Music at the Postponed Ceremony The ' ' Vivats ' ' at the
Coronation The Procession of the Regalia Trinity College of Music
and Foundation of King Edward Chair.
CHAPTER XVI 196
Interesting Details of the Musical Arrangements at Previous
Coronations Meagre Choral Force at Coronation of William IV.
Letters of Sir George Smart Braham and Balfe Old Members of the
Coronation Choir at Windsor Goss as a Lay-Vicar i8th Century
Coronation Music.
CHAPTER XVII 202
The Bi-Centenary of the Death of Pepys Foundation of the Pepys
Club Funeral Service for the Duke of Cambridge Memorial Service
for the Marquess of Salisbury Editorship of the Methodist Hymn-
BookHandel and Water Speech at the Sheffield Conference
Some Native Humour.
CHAPTER XVIII 212
Memorial Service to Christian IX. of Denmark Thanksgiving
Service for Safe Return of Prince and Princess of Wales from India
Orlando Gibbons Commemoration Lecture Tour in Canada Dr. Vogt
and the Mendelssohn Choir Meeting with Sir Robert Borden and Sir
Wilfrid Laurier.
CHAPTER XIX 221
Memorial Window to Sir Benjamin Baker Death of King Edward-
National Memorial Service Lying in State in Westminster Hall
S. S. Wesley Centenary Dean Armitage Robinson leaves the Abbey :
His help in Editing some Motets of Dering Only Survivor of Abbey
Community of 1875.
xii A WESTMINSTER PILGRIM
PAGE
CHAPTER XX 231
Coronation of King George and Queen Mary Another Homage
Anthem A Shrewd Suggestion from Sir Walter Parratt Sir Henry
Irving as a Musical Critic Edward Lloyd's Solo Awarded the
C.V.O. Dinner given by the Coronation Choir Presentation
Coronation Baton : Two Inscriptions.
CHAPTER XXI 238
Funeral Service of Lord Lister Memorial Window to Lord Kelvin
First Service for the Knights of the Bath for a Hundred Years : Letter
from Bishop Ryle Memorial Service for the Duke of Argyll Speech
by Mr. Rudyard Kipling Welsh National Service Letter from
Mr. Lloyd George.
CHAPTER XXII 251
Royal College of Organists Dr. Turpin National Training School-
Sullivan as a Teacher of Counterpoint Dr. Prout as Orchestral Critic
Royal College of Music Professorial Appointment suggested by the
Prince of Wales Death of Sullivan Joachim and the Examination
Paper Trinity College Tour with Dr. McNaught.
CHAPTER XXIII 264
Gresham Professor Fraternal Visit of London University to the
University of Paris Imperial College of Science : Laying of Foundation
Stone by H.M. King Edward Royal Choral Society Conductorship,
and a Letter from Sir George Grove Prout as a " Toucher-up "-
Joseph Bennett and Mozart Royal Philharmonic Concerts.
CHAPTER XXIV 281
Renewed Acquaintance with Maas An Operatic Effect that
Miscarried A Light Opera that was Lost to the World Co-Director
in an Opera Company Ganz as Entrepreneur Fortuitous Intervention
of a Sidesman A Ludicrous Faust.
CHAPTER XXV 288
The Musical Association Re opening of Manchester Cathedral
Organ Career and Death of Malibran Manuel Garcia : Centenary
Banquet and Honours.
CHAPTER XXVI 296
Resum^ of Canadian Journey The Scotch Element in Canada
Canadian Musicians : the Cathedral Tradition Dr. Charles Harriss
Ottawa and its Historic Associations Colours of Canadian Regiments
at the Abbey Anniversary of Confederation of Canada.
CHAPTER XXVII 302
An Early Canadian Friend Madame Albani and Queen Victoria
Oratorio " The Repentance of Nineveh " Norwich Festival and Morte
d'Arthur An Incident in the Highlands Randegger and the Coronation
Choir Jubilee of Cambridge University Musical Society Tchaikovsky
and Saint-Saens Grieg at a Philharmonic Concert.
CONTENTS xiii
PAGE
CHAPTER XXVIII 308
The Muniment Room Early Records concerning the Organ A
Quaint Epitaph Thomas Dallam's Journey to Constantinople
Presentation Organ by Queen Elizabeth to the Sultan of Turkey
Portrait Gallery of Abbey Organists Purcell Score : Autograph
Corrections The Abbey Bells : An Historic " Ringer's Bill."
CHAPTER XXIX. ... ... ... ... ... ... ... 332
R6sum6 of the Work of a Cathedral Organist Duties and
Emoluments of Lay-Vicars Choirboy Education The Archbishops'
Report Status and Privileges of the Organist Organists' Benevolent
League The Question of Musical Education : Provision for Students.
CHAPTER XXX. ... ... ... ... ... ... ... 343
Some Devoted Assistants in the Organ-Loft Service Music for
the Abbey: " Palestrina and His School" End of Pilgrimage:
The Philosophy of Humour Apothegm of Lord Houghton's
A Lancashire Adage Letter from Bishop Ryle Valediction.
APPENDIX ... ... ... ... ... ... ... ... 350
List of Works performed by the Royal Choral Society under the
Author's direction during the years 1896-1918.
INDEX 353
THE Author desires to express his obligation for the
use of photographs, &c., to the following : Messrs.
Ive & Lowe, Ltd., Chatham, for " Six Poor Travellers " ;
Messrs. Guttenberg, Manchester, for "Three Ex-
Organists of Manchester Cathedral " ; Messrs.
Lafayette, Ltd., Manchester, for the portrait of Mr.
S. H. Nicholson at page 320; Messrs. J. Russell & Sons,
Baker Street, W., for the portrait of the Author at page
320; and the Proprietors of the Church Monthly for
permission to use autobiographical notes appearing in
their columns.
LIST OF ILLUSTRATIONS
" WESTMINSTER BRIDGE " ... ... ... ... Frontispiece
(From the original of the " Vanity Fair " Cartoon by SIR LESLIE WARD,
now in the possession of the Author.}
Face page
"OLD CATHEDRAL . . . EARTHY SMELL" ... ... i
ORGANISTS OF ROCHESTER CATHEDRAL ... ... ... \
CHAPTER HOUSE DOORWAY, ROCHESTER ' X 6
Six POOR TRAVELLERS, HIGH STREET, ROCHESTER ... j
FIGUREHEAD OF H.M.S. "CRESSY"... ... ... ... 32
Miss MARIA HACKETT (1783-1874) ... ... ... 48
MANCHESTER CATHEDRAL: THE CHOIR ... ... ... 64
THE AUTHOR'S HOUSE IN THE LITTLE CLOISTERS... ... 80
ROD AND GUN ... ... ... ... ... ... ... 96
THREE EX-ORGANISTS OF MANCHESTER CATHEDRAL ... -j
THE AUTHOR'S HOME AT GLASS, ABERDEENSHIRE ... [
THE CHOIR AND ORGAN OF WESTMINSTER ABBEY ... 128
A CURIOUS BASS TROMBONE ... ... ... ... ... \
LlTTLINGTON TOWER IN 1840 ... ... ... ... L 144
CAPTAIN COOKE'S SIGNATURE ... ... ... ... ... j
THE MEDAL OF THE MUSICIANS' COMPANY ... ... ... )
ROOM IN PURCELL'S HOUSE IN BOWLING ALLEY j"
HENRY PURCELL (1658-95) 176
SIR FREDERICK BRIDGE IN His DOCTOR'S ROBES... ... 192
THREE VETERANS ... ... ... ... ... ... 208
SAMUEL SEBASTIAN WESLEY (1810-76) ... ... ... 224
ROSE-WATER DISH IN SILVER GILT, PRESENTED TO THE
AUTHOR BY THE SAMUEL PEPYS CLUB
FELIX MENDELSSOHN-BARTHOLDY (aged 12)
PORTRAIT OF THE AUTHOR (aged 9)
CONTEMPORARY BUST OF HANDEL ... ... ... ... 288
GARCIA AND HALLE PLAYING CHESS ... ... ... ... 304
ORGANISTS OF WESTMINSTER ABBEY ... 320
PORTRAIT OF THE AUTHOR ... ... ... ... ... 336
(Specially draum for this book by
SIR WILLIAM RICHMOND, K.C.B., R.A.)
" Old Cathedral earthy smell."
THE GKEAT WEST DOOR OF ROCHESTER CATHECKAL.
(From a uattr-colour sketch by S. Aveling.)
A WESTMINSTER PILGRIM
CHAPTER I.
Duke of Wellington's Funeral Rochester Cathedral Mr. J. L.
Hopkins Private Theatricals A Barrel of Apples A Caning
Incident Mr. Miles An Ingenious Use of a Mirror Joseph
Maas Launch of the "Cressy" Landing of Princess Alexandra
at Gravesend. An Ideal Precentor.
IT was the day of the funeral of the Duke of Wellington
in St. Paul's, November i8th, 1852. In a corner of
the Norman Nave of one of our oldest Cathedrals, the
Passing Bell was being solemnly tolled as a tribute
to the departed hero. The ringer was a blind man
(who also acted as organ-blower), known to all as
" blind Fred." A little chorister stood by watching
the monotonous pulls of the rope and listening to the
mournful response of the bell. After a while the boy
somewhat surprised the blind man by exclaiming, " Let
me have a pull or two, Fred, I should like to say I had
tolled the bell for the great Duke of Wellington." The
request was acceded to, and the little deputy bell-ringer
gave a few tolls for the Iron Duke. The place was
Rochester Cathedral (that "old Cathedral too earthy
smell pilgrims' feet worn away the old steps " so
ingeniously summarised by Mr. Jingle), and the little
chorister was myself.
2 A WESTMINSTER PILGRIM
When he wrote "The Pickwick Papers" Dickens was
quite a young man, but he evidently knew the Cathedral
of Rochester very well, as is evidenced by his allusion
to the steps worn by pilgrims' feet, and later in the
same sentence to "Jerkins too matchlocks." These
worn steps led up to the Chapel of St. William of
Perth, the patron saint of the city, who it is said was
murdered near Rochester in the I3th century, while on
a pilgrimage from Scotland to the Holy Land. During
the centuries his shrine became a resort for pilgrims,
and in this same Chapel I was often allowed to look at
a soldier's equipment comprising a buff jerkin and a
matchlock, which were preserved in a case.
Thus early in my pilgrimage, as already described,
did I take part in a ceremony of National mourning.
I have attended a good many such functions since
then as director of the music, and not as bell-
ringer and although my musical studies began as
a probationary chorister in 1850, I always feel that
this occasion was the real beginning of my career.
The funeral of the Duke of Wellington is vividly
impressed on my mind, on account of two of the choir-
boys of Rochester having been selected to assist in the
Choir at St. Paul's Cathedral. I recollect wishing
I had been a senior boy to have gone to that great
ceremony, and well remember the boys rehearsing the
music composed by Goss for the service.*
My father was a Vicar-Choral of Rochester Cathedral,
having gone to that old Cathedral city in 1850, from
Oldbury in Worcestershire, where I was born on
* It is an interesting fact that when the funeral service was
held in Westminster Abbey on the death of the Earl of Beaconsfield, I
suggested to Dean Stanley the performance of part of this same music,
commencing with the words, " Know ye not that a Prince and a great man
is fallen this day in Israel." I told Dean Stanley for what occasion it was
composed, and in agreeing to my suggestion he made the observation that
" The death of Lord Beaconsfield had made a greater impression on the
public mind than the death of any great man since Wellington."
IN THE HOP-GARDENS 3
December 5th, 1844. He was a devoted musical
amateur, played the flute a little, and sang in the Church
choir. Possessing an excellent tenor voice, he was
desirous of leaving the Black Country and getting if
possible a Cathedral appointment. The opportunity
came, and he accepted a vacant post at Rochester. I
well remember the journey from Birmingham to
Rochester, including the open third-class carriages on
the North Kent railway, absolutely like cattle trucks,
and my first view of the old Cathedral where, my
mother informed me, " Your father sings."
I cling tenaciously to every remembrance of my
childhood days at Rochester. For me the change
from the Midlands to the ancient city on the Medway
was a delightful experience. The neighbourhood of
Rochester was then quite rural and very picturesque
with its numerous hop-gardens and cherry orchards.
It was a custom at my home for the children to be
taken to the hop-gardens during the hop-picking season,
to spend a happy day. The hop-pickers in those days
were mostly poor people from Rochester, many of whom
my parents knew. The migrant crowds from London
were not then a feature. We would take up our station
with, I suppose, the capriciousness of children, beside
the bin at which some poor woman would be picking,
and devote ourselves to what was for us the delightful
game of picking hops. By this means we amused our-
selves, and added to her earnings. The days spent in
those gardens have a treasured corner in my memory.
But possibly we enjoyed ourselves even more in
the cherry orchards than in the hop-gardens. Our
excursions were generally made to an orchard owned
by a friend at Gillingham (then a village, now a
large town), one or more fellow choristers making
up our party. It was all a fruit-growing country,
stretching from here to Faversham. The delight of us
4 A WESTMINSTER PILGRIM
boys at being allowed to climb ladders into the very
heart of the trees, and eat as many cherries as we could
(and sometimes, I fear, more than were good for us),
may be imagined. Those black-hearts and bigaroons
are a luscious memory. I recollect we resolved artful
boys that we were to throw the stones, if possible,
into the next field so that our host would not know how
many we consumed. The subtlety of this little trick
has been in my mind more than once in later years,
when I have been shooting grouse and probably
expending a great many more cartridges than was
justified by the few birds there were to show for so
much ammunition. On several occasions I have been
tempted to resort to a furtive strategy, and hide my
failure by distributing the empty cartridge-cases as
remotely as possible in the heather!
I suppose I showed musical tendencies, having been
admitted as a " practising boy " or " probationer " at the
tender age of six years. There were six probationers,
who attended the school and service preparing for the
position of regular chorister. We had to undergo an
examination for voice and ear, and this preliminary
trial was made very pleasant for me by the kindness of
Mrs. Hopkins, the wife of the organist, J. L. Hopkins.
She evidently took a fancy to the candidate, whom,
after the trial, while my father was talking to Mr.
Hopkins, she provided with an orange and various
other delicacies. Many years after, when I was organist
of Manchester Cathedral, Dr. Hopkins (who was then
organist of Trinity College, Cambridge) came to stay
near Manchester where I also was a guest. As we
walked about our host's grounds I recalled this little
episode to him : " Ah ! " said he, " if I had rejected you
then, how different might have been your career."
Dr. Hopkins was himself a chorister in Westminster
Abbey, and I often think how he would have been
CHOIR SCHOOL EDUCATION 5
interested in seeing the post of organist there filled by
the little boy whom he started on his musical career ;
unfortunately he died before I was appointed.
And thus began my chorister days and musical life.
Twice daily we attended the Cathedral Service, the
practising boys or probationers sitting near the choir,
but not wearing surplices. We were taught the rudi-
ments of music by one of the Vicars-Choral, who was
wont to correct our bad production by pulling our ears
and pretty hard he pulled, too ! I gave much trouble
by holding my head a little to one side, a fault which
caused my poor ears many a pang ! This was doubtless
owing to defective vision of one eye, which was in later
years discovered and thenceforth corrected by the use
of spectacles. A chorister in spectacles would have
been looked upon as an impossibility in my young days ;
now we attend to such matters, and correct imper-
fections in other ways than by pulling ears ! Besides
music, we received of course a general education, our
school-master being also a Vicar-Choral. This educa-
tion was not very wide in its scope, but our master
taught well enough all that was expected of him.
" You'll learn enough here to carry you through the
world," he often said, and it must be admitted that a
goodly number of the boys he taught have done well
in the world.
With all its defects and limitations and they were
many the Choir School at Rochester in those days
compared very favourably with other institutions of a
similar kind. A writer in the Choristers' Magazine (a
quarterly periodical issued by the Abbey choristers),
recalling his days in the Choir School at Westminster,
says : "... it seems hard to realise that the authorities,
who had the best years of a boy's life in their hands,
treated us with such indifference . . . The only thing
that most of us excelled in was sacred geography very
6 A WESTMINSTER PILGRIM
good in its way, but hardly sufficient to fit one for a
future career." He speaks of the grievous disappoint-
ment of his parents, who had taken him away from a
good school at Chelsea to enter him at the Choir
School, naturally thinking " that it would be an excellent
thing " for him. Another writer in the same Magazine,
referring to a period a few years earlier, says : " No
one received any education. Walter Macfarren came
to school with me [in Charles Street, Westminster] for
a short time, but not one of the others attended any
school, and yet many turned out clever and important
men and organists of our Cathedrals."
The old Vicar-Choral who was our master at
Rochester did not err greatly in his estimate of the
amount of knowledge that it was necessary to acquire
in order to get " through the world." But it is question-
able whether the world of to-day would, in the main, be
" got through " with the same casual and haphazard
preparation.
It is a somewhat remarkable fact that up to the present
time seven of those old Rochester boys have filled the
organistships of the Cathedrals of Carlisle, Durham,
Ripon, Exeter, Chester, and Manchester, and of West-
minster Abbey, and three of them became University
Professors of Music.*
That more could have been done as regards
education for the boys of the choir is, however, only
too true. It is but recently that Cathedral authorities
all over England have recognized the fact that the
boys should be well taught as at other schools, and
boarded in a special school-house. Our school room
was for a time in an otherwise empty house in the High
Street of Rochester. This gave us opportunities for
pranks of all sorts. I remember a fine display of
* Dr. Armes and Dr. J. C. Bridge at Durham, and myself at London
University.
SCHOOLBOY PRANKS 7
fire-works in the cellar (to the great danger of the
unsuspecting neighbours), also some private theatricals,
when the big boys took the part of Red Indians, wearing
not a vestige of clothing except blue and red paint-
What a scrubbing there was to get this stuff off their
faces before Service, I need hardly suggest ! The
school was afterwards transferred to an ancient room
over one of the old gateways in the Precincts. This
again was the scene of some amusing incidents. We
used occasionally to go there in the evening to rehearse
for concerts given by the Vicars-Choral. The boys
afterwards were dismissed, the Vicars-Choral and their
friends remaining for further practice or a pipe. It was a
favourite custom for us to extinguish the candle which
was placed in a window of the winding turret-stair. The
Vicars- Choral thought it was an accident caused by the
wind, but one night the boy who ascended to blow out
the light was considerably astonished by a smart blow on
the ear, which apparently came out of the darkness ;
he rolled down the stairs, and we took to our heels !
Next day during school hours we tremblingly awaited
the dreaded observations of the master. These were
delayed almost past endurance, but at last he seemed
to be coming to the point ! By way of reproof to a boy
who had noisily crossed the room he told us of an
adventure which showed, he said, how noiselessly he
himself could walk ! " After you had left last night," he
began, and then went on to describe exactly the incident
of the boy attempting to blow out the candle, and how
smartly he had been caught as he did it ! We all
trembled as he concluded, fully expecting that there
would be a few scathing words, and a general caning at
the end. But no ; the master was quite unconcerned,
and unconscious that we were the culprits. It was
not until many years after, at his Jubilee presentation,
that he was told of this and of other pranks by the writer.
8 A WESTMINSTER PILGRIM
While speaking of the school, I may as well tell a
final story of those old days. At a later period of my
school life we were removed to yet another room, in
a house inhabited by the school-master in the Precincts.
It was a rambling old place, with an enormous roomy
cellar. The master was about to punish a boy his own
son for some misdemeanour, when the young gentle-
man suddenly slipped out of the door, across the hall,
and out into the yard at the back. His father, after a
moment's surprise, followed him cane in hand, and
arrived in the yard just in time to see the culprit dis-
appear into the capacious cellar. He felt perfectly
certain that his bird was trapped, and followed without
undue haste. After a time he reappeared in the school,
and to our surprise said, " Have you seen Willie ? "
" He went out into the yard, Sir," we replied. " Oh,
yes," said the master, " and into the cellar, but I have
thoroughly searched and he has most unaccountably
disappeared." I do not remember when the boy re-
appeared, but his method of escape, somewhat original,
was as follows : The master, not long before, had
purchased a barrel of apples, which was placed in the
cellar. The barrel and its contents had been discovered
by his children, and the apples consumed. The
empty barrel, well-known to the runaway, he quickly
turned over, and as his father, cane in hand, prowled
around, the boy within it watched him, with some
anxiety, through the bung-hole.
Our schoolmaster used the cane pretty freely, and he
had one refinement of punishment which was very
original, which he would resort to if a boy's fault was
very heinous. In his eyes the most serious faults were
prevarication and falsehood. One boy was particularly
prone to these (I will not give his name, but he became
a very good member of society all the same). This
boy seemed always to be undergoing verbal reproof for
REFINEMENT OF PUNISHMENT g
his infirmity, and if in the service there occurred one
of the Psalms referring to lies such as the 58th, " The
ungodly are froward . . . they go astray, and speak
lies;" or the loist, "There shall no deceitful person
dwell in My house " the master would say to the boy r
" Master , did not your conscience prick you ? "
and the boy always answered " Yes, Sir." The method I
have referred to, and to which such admonitions were
the prelude, was to send the delinquent down the
High Street to purchase a good, stout cane with which
he was to receive chastisement when he returned !
This occurred more than once in the experience of the
same boy who never failed to bring back the cane,
so that if he lacked the grace of truth, he certainly
did not fail in fidelity.
I was really fond of singing in the choir, and
never found the work irksome. I can quite well
recall some of the effects produced on the organ,
not only by John Hopkins but also by Dr. J. L. Hopkins,
who left for Trinity College, Cambridge, in 1855.
Never very strong, I on one occasion fainted during the
Psalms, and as I was at the end of the choir stalls and
there was no door, I fell with my head on the marble
pavement, cutting a deep gash (the mark of which I still
bear), and was carried out by my father and the verger.
On another occasion I had to go out feeling very unwell.
It was Christmas time, and I suppose I had been a little
greedy ; a great humiliation was laid upon me at the
hands of the head verger, a Mr. Miles (who is said to
have been the original of one of the characters in" Edwin
Drood"). As I emerged from the Choir into the Nave,
Mr. Miles took off my surplice, and then, addressing a
considerable number of people who (as the custom was
then) had assembled in the Nave to hear the anthem
and escape the sermon, he pointed to the poor little
white chorister, and said " Too much pudd'n ! " He was
io A WESTMINSTER PILGRIM
a cheerful and humorous man, but I never quite forgave
him for holding me up to ridicule. I believe he retired
from the choir in 1848 on the ground of ill-health, yet
he lived to be over ninety all the same, and was a great
personage in the Cathedral.
So far I have spoken of school life ; let me now
add a few words on the musical side of our education.
This was on the whole an interesting and thoroughly
good training. The organist, Dr. J. L. Hopkins who,
as I have said, had been trained as a chorister in
Westminster Abbey was one of a family which has
become distinguished in music. Two of his cousins
were Dr. Hopkins, of the Temple, and John Hopkins,
lately at Rochester. Mr. Edward Lloyd, also, is a
nephew. John Hopkins was a pleasant, energetic man,
understanding thoroughly the training of the voice.
An aid to our vocal studies which he devised was
exceedingly ingenious, and I do not seem to have heard
of it elsewhere. He had made and presented to each
boy a little oval mirror, which we held in the palm of
the left hand while beating time with the right. We
had to look into the mirror and see that the form of
our mouth was what he wanted. It amused us a little,
but made us think also.
Hopkins had a great horror of "bawling," and I
well remember his anger when the wife of one of the
Canons ventured to say we " bawled." This same lady
was a terror to me when I began to play part of the
service, for she always complained of the noise I made,
yet I found out she once took the precaution of sending
the verger to make sure it was I, and not my master,
who was playing. Besides our practices for the
Cathedral, we sang much secular music, an excellent
and improving thing for boys whose work was so much
on sacred lines. There was a Choral Society
conducted by Hopkins, at which we often assisted,
ARMES AND JENNY LIND n
and here I made the acquaintance of madrigals and
oratorios. The solos were usually taken by the
Vicars-Choral and the boys. One boy (later the
organist of an English Cathedral), an admirable
singer, got into a terrible scrape at one of these
concerts. He had to sing the solo in some small
cantata I think it was Romberg's " Lay of the Bell "
and when the time came for the solo his voice
absolutely refused to respond ! Hopkins glared,
the boy turned green, while all were aghast at the
contretemps. It was impossible to help it, and the
solo was omitted. The explanation was that Master
had been tempted to try his hand at smoking,
the brand being a bit of cane ! I fear he got a different
brand of cane next day.
We always had a good solo boy. Armes was in the
choir when I was a probationer, but his voice was gone,
and I cannot say that I ever remember hearing him
sing a solo. He was originally a chorister in Norwich
Cathedral, and, I believe, had sung in a duet at
Norwich with Jenny Lind. Armes was a very efficient
boy vocalist. In recognition of his work in the choir a
subscription was raised at Rochester, and he was
presented with a fine Broadwood pianoforte when he
became the articled pupil of the organist.
He was succeeded by E. J. Crow, who later in life
became organist of Ripon Cathedral. Crow was a
beautiful singer ; I have never heard the Finale in
Wesley's " Wilderness " " And sorrow and sighing "
sung better by any soloist in any choir. He had a
peculiarly delicate and effective way of singing the
word "sighing," with its appoggiatura, which I shall
never forget.
In his turn a boy named Williams became the leading
soloist. He too possessed a beautiful voice, and I can
recall the great effect he once produced in Purcell's
12 A WESTMINSTER PILGRIM
" O sing unto the Lord." This was on the occasion of
a selection performed in the Cathedral at a service on
behalf of the Choir Benevolent Fund in 1858. Here a
word may be said concerning this admirable Society.
It was established in the year 1851, under the auspices
of Lord John Thynne, Sub-Dean of Westminster, for
the benefit of necessitous members of Cathedral choirs.
The funds are maintained by individual subscriptions
of a nominal amount, and by festivals given at various
Cathedrals. It was at one of these festivals when
the choir of Rochester was augmented by that of
Canterbury, and a good many of the choristers of
St. Paul's and the Chapel Royal that the fine duet in
Purcell's anthem, to which I have alluded, was sung by
Williams and Mr. Fielding, who was a well-known alto.
At the dinner which was given in the evening, we of
Rochester were all very proud to hear the way in which
so many members of distinguished choirs spoke of our
solo boy. I do not know what became of him, except
that he did not go in for music. He may have gone
into the Army, for he was very high-spirited, and would
have made a fine soldier. The younger members of
the choir held him in high esteem as the hero of a
tremendous fight which he had with the head-boy of
a school kept by one of the Minor Canons. This school
was situated at the back of Minor Canon Row, where
we all assembled, unknown of course to the Master,
Precentor, or Minor Canon. It was a furious pugilistic
encounter, and went on for a considerable time. I
cannot say how it would have ended, for it was suddenly
interrupted by the terrible apparition of the enraged
cook, who rushed into the room ; nor do I remember
if she carried a weapon, but she effectually separated
the combatants !
There is nothing particularly exciting to chronicle in
my chorister days ; they were happy times, and were
FISHING EXPEDITIONS WITH MAAS 13
spent in a truly happy home. I began to learn to
play the piano, but was rather lazy at it in fact
for a short time my lessons were discontinued " because
I would not practise." I soon, however, got over
this lazy fit, and I believe made steady progress,
so that I was able to accompany my father in some of
his much-loved oratorio airs. My great friend in the
choir was Joseph Maas, who became so celebrated as a
tenor singer, and whose early death robbed us of a
lovely voice and a charming man. I well remember him
when he came, a small boy, to have his voice tested.
He possessed an exceedingly beautiful soprano, and
speedily was able to sing the solos in the Cathedral.
Very often he and I went to one of the Canon's houses
when there was a dinner party, Maas singing to my
accompaniment. One song we were particularly fond
of was " The Brook," a setting of Tennyson's beautiful
words, the rippling accompaniment of which I was very
proud of being able to perform. We were generally
rewarded by a money " tip " and a good feast downstairs
afterwards. The servants generally got a song out
of Maas, which brought us an extra supply of sweets.
Maas was devoted to fishing, and helped to stir within
me that love for the angler's art which I still indulge.
Our most pleasant fishing excursion was to Cooling
Castle, with its beautiful I2th century gatehouse,
still in an almost perfect state of preservation. The
tale of its defence in 1554 by the then Lord of Cobham,
against Wyatt's rebellion, was an interesting one to us
boys. It was about seven miles from Rochester, and the
moat contained roach and carp. We generally made
up a party of five or six boys, rewarding the kind
residents of the Castle by singing a part-song or two.
Maas and I often went to the village of Snodland,
where there was a good trout stream. It was in this
stream I landed my first trout. I confess it was not
14 A WESTMINSTER PILGRIM
with a fly, but the more humble worm ! Other fishing
excursions were made to Farleigh, a delightful place
above Maidstone, where we would sit all day beside
the Medway throwing in huge lumps of ground-bait,
and gentles, pulling out as a rule a very good basket
of perch and roach. I believe I brought more zest to
this sport than is now the case in my sometimes
toilsome efforts to land the lordly salmon.
Poor Maas loved fishing till the last, and it was a
cold caught on a fishing excursion that brought on the
illness that terminated fatally in 1886. I composed
a tune for, and played the organ at, the funeral service
of this dear friend of my youth.*
Now and then the Cathedral choristers would go over
to Maidstone to sing at concerts. These were great
events. There was no railway at that time, and we
had to return to Rochester by coach shortly after
midnight, coming over the well-known high ground of
Bluebell Hill with its ancient cromlech called Kits
Cotty House. If possible we boys rode outside the
coach, with the particular intention of playing a trick
upon the poor old turnpike-keeper below Bluebell Hill.
The old man had to turn out about 2.0 a.m., with his
lantern, to open the gate. As soon as it was fairly
open we would give him a rousing salute from the
pea-shooters with which we always went armed. The
language he used was very " warm " ; even to this
day I remember it, but forbear to put it down !
My own voice was weak. I never sang any solos at
these music-makings and rarely in the Cathedral ; but
I was a good, reliable reader, and continued in the
choir until over fourteen years of age.
* In a later chapter, turning aside from the broad path of my
Pilgrimage, and surveying again the diversified scenes that I have
traversed, I recur to Maas along with others whom I have known as
friends and playmates. In the same chapter, also, I describe some activities
and incidents that occupied me by the way.
LAUNCH OF THE " CRESSY " 15
At this time my love for the organ began to
make itself felt ; I used also sometimes to blow
for one of the pupils to practise. I well remember
pumping (with another boy's help) while the late
distinguished organist of Durham Cathedral, Dr.
Philip Armes, then a pupil, was practising Bach's
" St. Ann " Fugue. He varied the practice by playing
the chorus " Baal, we cry to thee," from " Elijah,"
while we, pumping away behind the organ, sang
a travesty of the words, concluding with an invitation
to Baal to " come and pump for us.'
Shortly after Armes left Rochester he became
organist of St. Andrew's, Wells Street ; also he took his
degree at Oxford, and I remember him coming to a
service wearing his Bachelor's gown and beautiful
Oxford hood. I believe the sight of this distinction
was the first stirring within me of a desire to go and
do likewise. A few years afterwards I heard he had
become organist of Chichester Cathedral. In after years,
when he had proceeded to Durham, I found in him,
as will be seen later on, a cordial friend and colleague.
We were kept pretty close to our daily duties,
holidays being few and far between. We had always
to ask the Canon in Residence, and sometimes he was
opposed to the choral service being dropped even
for one afternoon. The launching of a big warship
at Chatham was an occasion when we got leave. I
remember seeing the "Cressy,"* perhaps one of the last
of the old wooden walls, come out of the slips on
to the Medway. Quite lately I saw the figure-head of
my old friend outside Castles' ship-breaking yard, near
Vauxhall Bridge ! It gave me quite a pang !
* The Secretary of the Admiralty very kindly furnishes the following
particulars of the old ship : " The ' Cressy ' was a two-decker, laid down
at Chatham as an 8o-gun third-rate in 1846. By an Admiralty order issued
in November, 1852, she was converted while building into a screw-ship,
and was launched in July, 1853. She served in the Baltic in 1854-55."
16 A WESTMINSTER PILGRIM
Another occasion for a holiday was when Princess
Alexandra landed at Gravesend, before her marriage
with the Prince of Wales. I had then left the choir, and
was in the organ-loft as an articled pupil of John
Hopkins, the organist. I accompanied the boys to
Gravesend, where we all assembled outside the railway
station and joined in the cheering.
Our repertoire of music sung in the Cathedral was
really very extensive, and it is to the credit of the
musical authorities that they were among the first to
appreciate the value of Wesley's splendid volume of
Cathedral anthems which appeared in 1853. The
Dean and Chapter of Rochester subscribed for copies
of this great work, but I regret to say that the list of
subscribers did not include the Dean and Chapter of
Westminster. The Precentor (the Rev. W. Shepherd)
and organist were fully alive to the value of these
anthems, " The Wilderness " and " Blessed be the
God and Father," now so well known, appearing
in the lists almost every other week for a year or two,
and very well were they done.
I also remember well the appearance of the fine
Service music by Edward John Hopkins, the organist of
the Temple, and the impression made upon me by his
playing when he paid occasional visits to Rochester.
Having referred as above to the Rev. W. Shepherd,
I must not omit a reference to another Precentor of
Rochester with whom I came in contact. Among all
such dignitaries whom I have met, his charming face
and sweet disposition linger in my memory: he was the
Rev. T. T. Griffith (not the Vice-Dean, Dr. Griffiths),
and held office during part of the term of my articles.
Well endowed with that fine skill and adroitness
which we call tact, he was enabled in his dealings
with people to get them to do exactly as he wished.
Canons gave way to him, while the organist was quite
ORGANISTS OK ROCHESTER CATHKDKA
JOHN I.. \KKIN HOPKINS (1841-13,6).
CHAPTER HOUSK DOORWAY,
ROCHESTER.
Six POUR TKAVKI.J.KKS, Iln;n STKI:I:I',
ROCHESTER.
17
docile. As to the choir, they all loved him. He
introduced much new music, his choice revealing,
perhaps, some bias towards the modern school. A
very good alto singer, he organized social meetings
for the practice of part-songs, &c., in various houses in
the neighbourhood. I profited in my accompaniments
by many hints that he gave me, information that
he always imparted without any objectionable words
or manner. He even got Mr. Hopkins to come out
of his shell a good deal, and altogether the Rev. T. T.
Griffith was an ideal Precentor. Late in life he
accepted a living in a delightful part of Surrey, where I
often visited him. He displayed great interest in the
rehearsals of the Coronation choir; I rejoiced to see
his familiar face in the gallery at Church House.
This very dear friend lived to the great age of eighty-
four years, and when he died I felt that in him was
severed an arresting link with the past.
CHAPTER II.
Opening of the Crystal Palace by Queen Victoria Miss Hackett
and Sydney Smith The Crimean War Musical Evenings with
Officers of the Garrison Removal of the Old Stone Bridge
Deans and Canons of Rochester Mr. Whiston v. The Dean and
Chapter Competition for the Organistship of Rochester Quaint
old Customs Two Terrible Melodramas Rochester Subscrip-
tion Concerts in the 'fifties Sims Reeves at a War Concert
An Historical Extravaganza.
THE first great musical gathering in which I took
part was the opening of the Crystal Palace at
Sydenham, by Queen Victoria, in 1854. A large choir
was formed, which included that of Rochester
Cathedral, and I sang in this choir under the
direction of Costa. Clara Novello sang the solos
in the National Anthem ; her clear, beautiful voice
still seems to ring in my ears. She put in an
ornament on the word " us "
and as she lingered on the high B flat, an old gentleman
behind me, a member of the choir, exclaimed enthusias-
tically, " That 's a beauty ! " This was the first time I
had seen the Queen, and I need not say how interested
I was. The Prince of Wales (afterwards King
Edward) and Prince Alfred were there as boys,
besides many other notable and distinguished people.
The conductor rather astonished us by swinging both
his arms, to right and left, but of course it was a
very large choral and instrumental body. We boys
THE CHORISTERS' FRIEND 19
were greatly interested to see the various gentlemen
presented to Her Majesty, and delighted when one
made an awkward slip on retiring backwards down
the steps and nearly came a cropper ! It was a great
scene, but a very hot and tiring day. I suffered
agonies from thirst while on the platform. One sight
was peculiarly attractive to us choristers. Among the
singers were the Children of the Chapel Royal in their
splendid dress of scarlet and gold ; we ordinary
choristers were filled with admiration and envy. It
may be noted that among those Chapel Royal boys
was the youthful Arthur Sullivan.
In connection with a chorister's life, I must not
omit to mention the visits of Miss Maria Hackett. She
was a lady who made it her mission to improve
the education and general position of the boys in
Cathedral choirs. Her advent was always welcome
to us, because we knew that after service we should be
paraded, our names entered in her little book, and we
should receive a small tip. Her work is well known.
I need not dwell upon it here, except to say that
she lived to see the education of Cathedral choristers
put upon a higher level than it was in my youthful
days. Her labours for choristers have been recorded
on a tablet erected in St. Paul's Cathedral. Miss
Hackett was a regular attendant at St. Paul's, and
a little witticism of Sydney Smith's respecting her may
be chronicled. Miss Hackett much loved to hear
Mr. Goss introduce " thunder " at appropriate verses in
the Psalms. On one occasion when the atmospheric
disturbance took place, Sydney Smith said to a fellow
Canon, " Have you ever noticed when Mr. Goss
* thunders,' how Miss Hackett's face * lightens ' ? "
Another little witticism of Sydney Smith's in connec-
tion with Goss was told to me by the latter. Sydney
Smith was a Canon of St. Paul's at the time Goss was
20 A WESTMINSTER PILGRIM
a candidate for the organistship. Goss had been a
pupil and assistant of Attwood, and so was hoping to
get the appointment. A dinner was given to some of the
Cathedral body in the Chapter House of St. Paul's,
Goss, as assistant-organist, being among the guests. He
was somewhat anxious concerning the view Sydney
Smith took as to his fitness for the post, but his mind
was set at ease by a remark of the witty Canon, who
with nice acumen was serving a salmon. Turning
to Goss, he politely asked him did he prefer " thick
or thin." Goss named his choice, and the Canon
promptly made rejoinder, "Always happy to serve you.,
Mr. Goss, through thick and thin.' 1
The War with Russia (1854-56) provided many
days of excitement in Rochester. Troops continually
marched through the streets to embark for the Crimea,
causing much enthusiasm. I remember the departure
of the i8th Royal Irish, a brave but somewhat
noisy body of men, singing, as they wended their way,
Henry Russell's fine marching song " Cheer, boys,
cheer ! no more of idle sorrow," though the night before
they had broken out of barracks and nearly killed one
or two policemen. Poor fellows, many of them died
gloriously, at the attack on the Redan. The Charge of
the Light Brigade is an incident impressed on my mind
by hearing my father speaking of it, and showing me a
picture of Lord Cardigan on his charger, surrounded
by Russians and apparently jumping over enormous
cannon and other impediments !
The officers of the garrison, it need hardly be said,
were beings whom we greatly venerated. Some of them
we got to know very well. They would come frequently
to the Cathedral services many of them, indeed, were
very musical. By permission of the organist a senior
boy, E. J. Crow (who, as I have said, afterwards became
organist of Ripon Cathedral), and I went several times
A WATERLOO VETERAN 21
to the Royal Engineer Barracks to sing part-songs
with some of these musical officers. They treated us
extremely well, giving us a good feed, which, boy-like,
we greatly enjoyed, while they on their part seemed
greatly to appreciate the musical evenings. We were
amused at their astonishment at the way Crow and I
could read whatever music they put before us, they
having so much difficulty in singing their own parts even
after practice. Frequently they would let us play with
their swords and pistols, which I fear were of greater
interest to us than the music. I can catch, even now,
the joy that such informal music-makings were to us.
Moreover it was an invaluable experience for young
boys, as we were, thus early to come under the influence
of those Engineer officers, who, keen and active soldiers
as later we knew them to be, were also highly-educated
and refined gentlemen.
The visit of Queen Victoria to the wounded soldiers
at Chatham was a notable event ; while another was the
arrival of wounded officers. The son of one of the
Canons was among these; we were allowed to see
him at his father's house, and to hear from his lips
some of the war incidents which filled us with
admiration. Stories of war will always have interest
for boys. I have already alluded to the Funeral of the
Duke of Wellington, and my interest in that event was
a good deal owing to the fact that among the
Bedesmen of the Cathedral was an old soldier who
had fought under the Duke at the Battle of Waterloo.
He had a big scar on one cheek, which he told us was
given him by a Frenchman in the battle. He declared
that he ran his bayonet through the Frenchman's body,
and would delight us by illustrating his feat with his
walking stick.
An interesting series of events attended the removal
in 1856 of the old stone bridge over the Medway
22 A WESTMINSTER PILGRIM
that " very Payer Bridge of Stone," dating from
the 1 4th century, connecting Rochester with Strood.
It was probably commenced in the year 1387 by
Sir Robert Knolles, and was extremely picturesque.
Its numerous narrow arches made it, I suppose, an
obstruction to navigation, and it became necessary to
demolish it, a very fine iron bridge being constructed
lower down the river, on the site of the ancient wooden
structure built in the reign of Richard II. The removal
of the massive piers of the old bridge was entrusted
to the Royal Engineers stationed at Chatham. This
was an operation extending over some time, for of
course the undertaking could not be accomplished in
one gigantic explosion. But still it provided impressive
scenes of considerable magnitude. Enormous crowds
would assemble to witness the firing of the mines.
Stationed a long way from the bridge, we listened with
strained expectancy for the bugles whose concerted
signal announced the critical moment. I can recall the
tense feeling of excitement, the breathless hush, while the
imagination traced the burning of the fuzes, the leaping
spark eating its way inevitably nearer to the explosive
placed in the masonry, then the dull thud of the
explosion, like a great door shutting with a mighty slam !
The demolition charges were carefully designed by the
Engineers in order to rend the piers without throwing the
debris to any great distance. The billowing, eddying
mass of the explosion seemed, however, to rise to a great
height. Once or twice the sightseers had need of the
warning to "take cover," as stones volleyed overhead,
but so far as I know there was no accident. The
faggots and hurdles used as mantelets to screen the
masonry, although destroyed in the explosion along
with the stonework, did their work well. Some of the
old stone balustrading was preserved, and erected along
the Esplanade, where it still remains.
THE VICE-DEAN'S CRITICAL WIFE 23
The Dean and Canons of the Cathedral while I was
a chorister are still fresh in my memory, and probably
few people have seen a Bishop in a wig, on
his throne ? But I can remember quite well old
Bishop Murray of Rochester wearing his wig when
he made his Visitations. It puzzled me as a boy to
make out what it really was ! It was a close-fitting
wig, the front of it seeming to grow out of his
forehead. He was, I think, the last Bishop to don this
part of the Episcopal habit.
The Dean, Dr. Stevens, was a very old man, and
I believe at one time had been Chaplain to the
House of Commons. He preached occasionally, when
I was much struck with his deep and expressive
voice. The Vice-Dean, Canon Griffiths, was a man
of fine presence and physique, while also somewhat
of an autocrat. He had ample means, but lost a
considerable sum of money in the failure of the
banking firm of Sir John Dean Paul & Co., against
whom he brought an action at law. He was educated
at Westminster School, and I have often thought
it would have interested him to find me at
Westminster. Several school prizes still bear my
name inscribed by him. It was Mrs. Griffiths who
criticised my playing of the service and accused me of
making such dreadful noises ! Another famous Canon
was Dr. Hawkins, the celebrated Provost of Oriel.
The choristers were not very fond of him, as he was
particularly averse to interfering with the daily choral
service by giving a special holiday. I remember his
alert little figure perfectly well ; he had a pair of sharp
bright eyes, and a good head of short, white, rather curly
hair. I do not recall that he ever spoke to us,
except on the rare occasions when we ventured to beg
for a holiday. But he was particularly courteous, and
as he passed us on his way to the Chapter House to be
24 A WESTMINSTER PILGRIM
robed, he always returned our bows with much
graciousness. He moved very briskly, and had a
curious habit of making a very careful and prolonged use
of the mat before ascending the steps to the Chapter
House, rubbing his little feet backwards and forwards
many times. It may be a trifling thing to record, but I
know that it struck us boys as something uncommon.
In the pulpit he was somewhat of a terror ! He
prefaced his sermon with a very long " Bidding Prayer,"
for which all the congregation stood. One thing he
introduced, which other Canons omitted. He always
bade us pray " For John, Lord Archbishop of Canter-
bury, and George, Lord Archbishop of York, that they
may shine like lights in the world, and adorn the doctrine
of God our Father." I have never heard this since, but
have never forgotten it. And then came the sermon
very long, and very learned no doubt. Of that I
cannot speak.
The Archdeacon, Dr. King, was the father of the
celebrated Bishop of Lincoln. Another of his sons was
badly wounded in the Crimea, and was the officer
mentioned previously who used to tell us stories about
the war.
The fourth Canon was Dr. Irvine, but as he was
absolutely incapable of doing any part of the service-
suffering from paralysis and being carried into his
stall by his butler and the head verger I cannot say
anything about him.
The Dean and Chapter were at that time engaged in
a tremendous fight waged against them by Mr. Whiston,
the master of the King's School at Rochester. The
quarrel is well remembered, so that I need not go into
particulars, except to mention that it was the outcome
of a pamphlet which Whiston wrote on " Cathedral
Trusts and their fulfilment." He complained that the
Dean and Chapter did much too little for the School ;
A MEMORABLE COMPETITION 25
they replied by attempting to dismiss him from his
post in fact they did appoint another headmaster.
Whiston, however, attended the Cathedral Services as
usual, and it was very interesting to see two headmasters
of the same school sitting side by side at the services.
In the long run Whiston gained the day, the Dean and
Chapter having to reinstate him in his headmastership ;
the King's School has since flourished exceedingly.
I well remember the competition which took place
for the organistship of the Cathedral in 1855. J- L.
Hopkins went to Trinity College, Cambridge, when the
vacant post was competed for by some dozen prominent
organists, the judges being John Goss, of St. Paul's,
and the retiring organist. Among the competitors was
James Coward, a fine performer, afterwards organist
of the Crystal Palace, W. B. Gilbert (best known as
the composer of the tune " Maidstone," now sung to
the beautiful hymn "Pleasant are Thy Courts above"),
and Armes, a pupil of Hopkins and a chorister of
Rochester, who became organist of Durham Cathedral
and Professor of Music in the University. Although only
a boy of eleven, I took great interest in the affair, and
can quite well recall how some of the performers differed
in style from others. It was a very searching trial,
for not only did the candidates play the organ, but they
actually had to work a paper containing a chorale to
harmonize, and a short subject on which to write a fugue !
In the end the choice fell upon John Hopkins, a
brother of the well-known Temple organist and a cousin
of the retiring organist. I heard he was far ahead of the
other candidates in extemporizing, and can well believe
it, for I had many opportunities, as his pupil and
assistant, of listening to the beautiful modulations and
dignified progressions which he could use at will. I
never saw him with a baton in his hand. He was of a
shy and retiring disposition, essentially a man for a quiet
26 A WESTMINSTER PILGRIM
Cathedral life and not one to shine in the concert
world. He had a gift for composition, but not until late
in life did he do much. Then he wrote a fine Service
or two, and some beautiful organ music. He performed
his daily duties until well over eighty years of age.
Many quaint old customs still lingered in Rochester.
The 5th of November, with its Guy Fawkes and fire-
works ; the Christmas Waits, for whom I used to lie
awake in bed to listen ; the Hot Cross Buns, early on
Good Friday, called by various bakers' boys to a
real bit of old folk-song :
:zNr-fs X=ps=Tj|z: rzfizd^ ISr-ft- . -j ' II
i-Ti<=J *=g^: \ * ^z3=j= _o
One a pen-ny buns, Two a pen-ny hot cross buns.
and the admission of the six poor travellers to Watts'
Charity every night. This ceremony is immortalized
by Dickens in his Christmas Story, " Seven poor
Travellers." The old gabled house rebuilt in 1771,
and restored in 1865 is in the High Street, near
where I lived. Punctually at 6 p.m. the door opened,
and the custodian silently pointed to six fortunate ones
out of a crowd of poor travellers who had gathered
during the day, and stood in a semicircle in front of the
house. The six were admitted, given supper, a bed,
and breakfast, and a " groat " to start them on their
journey next day. This Charity was founded in 1579
by Sir Richard Watts, a famous old citizen, for the
relief of six poor travellers every night. Oddly
enough, he specially mentions poor travellers " not being
Rogues or Proctors." * The Charity continues to the
* Vide " New English Dictionary," sub Proctor, " One who collected
alms on behalf of lepers or others who were debarred from begging for
themselves. Esp. one having a patent or licence to collect alms for the
occupants of a ' spital-house.' (Held in evil repute from the abuse of the
system.) " And again, Ibid., " ' Among roges and idle persons, we find to
be comprised all proctors that go up and downe with counterfeit licences.'-
Harrison, ' England,' 1877."
SOME TERRIBLE MELODRAMAS 27
present day, but the funds have so increased that
the trustees have been enabled to erect some fine
Almshouses for poor and decayed citizens.
The inscription on the house in the High Street is
as follows :
Richard Watts Esq re
By his Will dated 22nd August 1579
founded this Charity
for six poor travellers,
who not being Rogues or Proctors
may receive gratis for one night
Lodging, Entertainment,
and Four Pence each.
Rochester possessed a theatre, and at one period
there were performances given every night by a small
resident company. My parents were not very keen
about letting me go to the theatre, but occasionally
I got permission. Two terrible melodramas that
I saw made an impression on me that was not good,
and which lasted for a long time. One of these
plays was entitled " The Bleeding Nun," in which
there was a fearful moonlight scene in a churchyard,
an officer with a drawn sword and a nun with a
dagger chasing each other round the tombstones. The
nun looked ghastly, with a big, bleeding wound. I do
not know who was the victor, but I got so frightened
that I had to go home.
The title of the other piece I have forgotten. The
villain was the wicked Captain of a ship, who fell in
love with the wife of the mate. There was a fierce
encounter, the mate being thrown overboard. A fine
scene of a ship at sea showed the mate clinging to the
side with an arm over the bulwark. The Captain, to get
rid of him, seized an axe and hacked off his hand. In
the next scene everybody was several years older. The
Captain had apparently married the lady, and amassed
a good deal of money, for he lived in great state.
28 A WESTMINSTER PILGRIM
A ball was given in a baronial hall, and the Captain
and the lady were there. In the centre, at the back of
the hall, stood a very large, old-fashioned grandfather
clock, and at a given moment the dance ceased to let
it occur the whole front of the clock opened, revealing
the figure of the drowned sailor with his bleeding
stump pointing accusingly at the infamous Captain.
The wretch, I think, fell dead, everyone else bolted,
and that was the end of the play!
These scenes, as I have said, had an effect upon me
which was not good particularly that of the nun in
the churchyard. Like many children I was nervous
in the dark (I never had any fear in the day-time),
and the remembrance of the Bleeding Nun dashing
frantically round the tombstones had such an effect
upon me that I was afraid to proceed to my music-
lesson at night. The way led me past the Cathedral,
and I had to go through two churchyards. To get
over the difficulty a younger brother was sent with
me ; when the lesson was over he would come and
fetch me. He had no fear but he had never seen
" The Bleeding Nun " !
I will recount still one more episode of the theatre,
when I have done with my Rochester theatrical
reminiscences. One of the boys a terrible trouble to
the schoolmaster; always getting into mischief, but
really a very witty and not a bad boy managed
somehow to procure a box order to see the play. He
took three or four of his chums with him, of whom I
was one, and we greatly enjoyed ourselves. I am afraid
that a portion of the enjoyment lay in making a good
deal of noise ! The manager put up with it for a time,
but the climax was reached when, in a scene representing
a sequestered wood, a very tall, lean actor came forward
leaning on a long staff rather like a hop-pole. He
was in terrible fear of some felonious attack, and
" STAND TO YOUR GUNS" 29
appeared in very great distress, calling out, " Whither
shall I go, where shall I hide ? " to which our companion
promptly called out, " Hide behind your walking stick,
gov'nor ! " This knocked the actor completely out of
time, while there was a roar of laughter from the
audience. The indignant manager, however, promptly
kicked us out !
During his term at Rochester,]. L. Hopkins directed
some very successful subscription concerts there from
year to year. Many of the most celebrated vocalists
sang on these occasions, and always some representative
names appeared in the programme. The last concert
of the season was generally made specially attractive
by the engagement of Sims Reeves, Madame Dolby,
and other well-known artists. I remember that in the
Crimean War period, Sims Reeves sang a popular song,
" Stand to your guns." We choristers were admitted
to the artists' room, and after his song in the concert-
hall, in playful mood the great tenor sang it to us again,
but this time to a little travesty of the words, " Stand
to your pop-guns." We thought this delightful. Maas
was present with us, and it is interesting to record that
not many years afterwards his first great hit as a
tenor was in singing a song of Henry Leslie's, " Annabel
Lee," which Sims Reeves was to have sung. Maas and
Reeves became very friendly, and at Maas's death
Reeves sent me a wreath of flowers, with a touching
request that I would place them on the coffin of the sweet,
singer and charming companion, called to his rest at
the summit of his powers.
A curious side-light on the musical culture of
concert audiences at that time, even at fairly high-
class music-makings as these were, is afforded in
the fact that the programmes were always enlivened
by what was called a "buffo song." At Rochester
these were generally contributed by two vocalists
3 o A WESTMINSTER PILGRIM
who were, I believe, Cathedral choristers, Messrs.
George Buckland and James Howe. The former,
I think, came from St. Paul's.
At a concert given on January 24, 1855, Howe was
down for an " Historical Extravaganza " as it was
called. The words have not survived, but I append
the author's synopsis, reproducing also its archaic type
and quaint language, as printed in the programme of
sixty-four years ago. Here it is :
HISTORICAL EXTRAVAGANZA.
MR. JAMES HOWE.
"ge affecting jristorie of (Suibo Jfafohes," foitjj
ge fulle, true, anb particular account ai jje
(iunpofober plot: orntagngnge bitters matters
tjjereanent neuer before mabe publgrhe.
J. HOWE.
Buckland's tour de force was a song entitled, if my
memory serves me, "Miss Roseleaf's Evening Party."
He was a clever executant on the pianoforte, and I used
greatly to admire his admirable musical representation
of the party going down to supper, two by two, a
progression which he illustrated with irresistible
comicality by playing a series of notes in thirds from the
top of the keyboard to the bottom. A song by "Miss
Martha Mumbles," which always broughtdown the house,
had for its title "Thou art gone from my gaze Like a
beautiful dream." It was a well-known ballad of the
time. He would sing it in a high falsetto. Between
the word "gaze" and the word "like" there is an interval
of an octave, and Buckland found huge delight in
A TREMENDOUS PORTAMENTO 31
piling up a tremendous portamento from the low note to
its octave on the word "Like." I give the music as he
performed it :
Slow and with feeling.
Thou art gone from my gaze, Like
a beau - ti - ful dream.
I am afraid the audience really liked these songs
better than they did the more refined numbers in the
programme. And certainly I did !
CHAPTER III.
First Organ Lessons Blind Fred as Critic An Obstinate Alto
Organ Interlude and the Man with the Glass-Eye Recollections
of Charles Dickens Early Appointments The Volunteer Band
Marching Past Her Majesty at the Hyde Park Review
Humiliation at a Review Jenny Lind in " Elijah " Hearing
Wesley open an Organ Pupil of Goss, at St. Paul's.
I DO not remember my first organ lesson, but
I had a little knowledge of the pedals beforehand.
This I acquired by surreptitiously playing upon them
when I was in the organ-loft performing my duties
of putting out the organist's books. I had noticed how
they were footed when up once or twice during service
to help Armes. He was then only a beginner, and
found it needful to have a boy to help manipulate
the stops. When he nodded his head I had to push in
a pedal coupler, and when he nodded again I had to
pull it out. This was, I believe, my real introduction
to the organ. Soon after my fourteenth year I left the
choir, and was articled by my father to John Hopkins,
the organist. Soon I began to play occasional
services at various churches, and must not omit to
mention that for a few Sundays I played at a chapel.
I was not paid for these chapel services, but gave
them in return for being allowed to practise on the
organ there, which was a very good one. The reason
was that the Dean and Chapter were so unkind as to
refuse me access to the Cathedral organ. This was
rather hard, as I had been a boy in the choir for eight
years, and my father had paid Hopkins a fairly
good fee to take me as an articled pupil. However,
they very soon gave the required permission. My
A CRITICAL ORGAN-BLOWER 33
father was remonstrated with by a clergyman, for, as
he said, " letting your son play in a chapel for the sake
of filthy lucre " ! Of course my father had a good
answer to this, and the clergyman transferred his protest,
in another form, to the Dean and Chapter, with the
result that the required permission was granted. Yet
the attempt to exclude me was an unworthy act on the
part of the Cathedral authorities, as everyone will
admit.
My organ lessons were not very regular, but I
practised almost daily, and curiously enough my
greatest critic was the old blind blower, Fred, whom I
have mentioned as having allowed me to toll the bell
for the funeral of the great Duke of Wellington.
Intensely musical, he played the violin uncommonly
well, and along with a friend the blind organist of
a neighbouring church was employed at all the
dances in the vicinity. It was a local saying that
" people liked to have blind men to play at the dances,
because they would not know too much of what was
going on " !
Blind Fred had a great love for Church music, and
would constantly come round from the bellows-side
to the keyboard side of the organ to correct me for a
wrong note or something that I had not noticed myself.
He could do this, because I was only allowed to play
softly, and the organ not being pneumatic it did not
require a great amount of wind.
I remember his delight when for the first time we
had some of the more modern chants introduced,
notably one by Turle, which is well known and usually
sung to the iO4th Psalm. There is a very striking
chord in the second part. Old blind Fred would
whistle this chant to me, accenting this chord with all
his power ! He was always rather hard upon my
extempore playing (which I admit was not very good),
D
34 A WESTMINSTER PILGRIM
but once I tripped him up by taking a phrase from
one of Mendelssohn's Lieder, using it as a subject.
This brought him round to me, with the exclamation,
" Ah, Master Fred, that is something like " ! I thanked
him, but was artful enough not to tell him whose it was.
Very early in my articles I took the whole of the
Cathedral services on week-days, but encountered one
rather awkward experience while playing my first
Sunday service. I need hardly say that at this date my
anthem-repertory was not very large ; I had, however,
practised Elvey's " Unto Thee have I cried," which
contained a well-known alto solo. Now the alto soloist
seemed to turn rather restive at being " accompanied
by a boy," as he somewhat disparagingly said, and at
the last moment declared he could not sing the solo.
However, the Precentor told him that he would
have to sing it, so the service commenced. We got
through the first chorus, and then came the solo. I
played the introductory symphony, and put down the
chord for the entry of the soloist, but there was no
response ! The alto absolutely refused to sing, on the
plea that he could not. I suppose I ought to have
brought the movement to a close and gone on to the
next chorus, but I was on my mettle and impulsively
decided to play the part as an instrumental interlude,
being very much encouraged by a gentleman who was
a constant attendant in the organ-loft, and who happened
to be present. Instinctively divining my intention,
he was delighted with the episode, saying, over and
over again, " Go it, youngster ! " emphasising his
remarks by vigorously polishing his glass-eye on a silk
handkerchief. It was a diversion of his when excited
to extract his artificial eye and give it a high degree of
polish in this manner. I proceeded with the solo, and
added to it what later years have convinced me was a
piece of impudence. The soloist was wont to close
RECOLLECTIONS OF DICKENS 35
this number with a " shake," which is very unusual in
Cathedral music, so I thought I would reproduce it,
and accordingly finished up with a long shake that
nearly vibrated my friend's glass-eye out of his hand !
There were some heated moments after the service, in
which my father, the Precentor, the alto, and the Dean
and Canon took part, but nothing was said to me, and
the thing passed over.
Afterwards I became very friendly with the alto, and
quite forgave him. I do not think he would mind my
telling the story even if he were alive. He was the
brother of the well-known tenor, Wilbye Cooper. At
one time he thought his voice was changing into a tenor,
and took to singing tenor songs. It was a witty
remark of Armes pere (father of Dr. Armes), when one
day referring to the brothers, that one was Wilbye
Cooper, and the other "Would be" Cooper.
The five happy years of my articles fled all too
quickly. All the time was not spent at the Cathedral,
my duties as assistant being varied by some small
appointments that I held at local churches, the first
of these being the country church of Shorne.
Situate about five miles from Rochester, there was no
railway or any method of getting there except by
walking, and this I did, wet or fine. My walk out to
the little isolated village was quite an interesting one.
I was a lover of Dickens' books, and Dickens lived at
Gad's Hill House, which I passed on my journey. As
I left Rochester I passed the " Bull Inn " the scene
of the Ball and Mr. Jingle's exploits in " Pickwick "
its sign bearing as an advertisement the recom-
mendation of Mr. Jingle, " Good house nice beds."
A mile or two along the high road one came to Gad's
Hill, the scene of Sir John Falstaff's proceedings,
and referred to in Shakespeare as a place where " there
are pilgrims going to Canterbury."
36 A WESTMINSTER PILGRIM
At the top of the hill was the wayside Inn, the
" Sir John Falstaff" ; on the opposite side of the road
Gad's Hill Place, the residence of Charles Dickens,
an interesting-looking red-brick building,* with a
neat lawn, from which a tunnel was made under the
high road to give access to a well-wooded garden on
the other side. Fine cedars made a good show, and I
believe the novelist did a good deal of writing in this
secluded spot. I very often saw Dickens on my way
in the morning, but more often as I walked home. He
used to walk in the middle of the road, generally
attended by a big dog. How little he thought, as we
passed on the quiet country road, that in after years he
would repose in the Abbey,! while the sound of the
pealing organ
" To the full-voiced choir below "
was to be actuated by the fingers of the boy who,
I am afraid, was wont unduly to stare at him with
feelings of admiration and curiosity.
A little speech made by the great novelist, that I
have not seen quoted, has lingered in my mind. He
gave a reading at Chatham in aid of the Mechanics'
Institute, which included the Trial from " Pickwick,"
and "A Christmas Carol. 1 ' In response to thanks
conveyed to him after the reading, he said : " Ladies
and Gentlemen, I wish you all the Compliments of the
Season, if Compliments are ever out of Season."
A little beyond Gad's Hill my journey took me off
the high road through some fields into a pretty country
lane a rare spot for white violets in the spring
* Dickens bought Gad's Hill Place in 1856, and resided there till his
death, which took place in 1870. In writing to a friend, he described it as
his " little Kentish freehold. ... a grave, red-brick house, which," he
went on, " I have added to and stuck bits upon in all manner of ways."
It is said that Charles Dickens was to have been buried in Rochester
Cathedral, but that, in deference to a wish expressed by Queen Victoria,
the great novelist was laid in Westminster Abbey.
EARLY APPOINTMENT 37
and so I reached the little valley. The church was a
good specimen of various periods of architecture Saxon,
Norman, and of the Transition period and contained
a fine stone recumbent figure of a knight in armour.
My days spent there are often in my mind the
Sunday School, which was held in one of the aisles
partitioned off from the church ; the little organ in the
gallery ; the tuneful peal of bells rung by the villagers ;
and my return journey, often laden with flowers given
to me by the country-folk.
Sometimes my old fellow chorister, Joseph Maas,
would walk out to meet me, when we would linger
by a pool and watch the shoals of roach and wish
we had a rod and line. Those were happy Sundays ;
I have not since spent many so free from the cares
of office !
The little organ (originally a barrel organ, presented
by a resident over a hundred years ago) was in the
West gallery, and there the choir sat with me. The
old Clerk was evidently an advanced Prayer Book
reformer, for he always insisted upon saying " Amen "
at the end of the Te Deum, which was generally
read. I took my luncheon with me, eating it in
the vestry between the morning and evening services.
A somewhat serious accident occurred on one of these
occasions, which might have changed my career. In
cutting an apple the knife slipped, dividing the flesh
between the thumb and first finger of my left hand !
It bled profusely, and I had to be driven into Rochester
and have it attended to. Fortunately no ill effects
ensued, but I bear the mark to this day ; in fact it
has a little interfered with the stretch of my left hand.
Shorne was the home of many of the best cricketers
of Kent, and I saw a good many matches between
prominent clubs played in the charming grounds
of Cobham Hall, the residence of Lord Darnley.
38 A WESTMINSTER PILGRIM
I believe a number of the Shorne people were
employed on the property, which was quite near.
The fine old Hall is very picturesque, and I have lately
learned a fact of some interest about it, which is, I
think, little known. In connection with the " Gibbons
Festival" in Westminster Abbey (see page 212), I
looked into the facts of Gibbons' attendance at Canter-
bury Cathedral for the wedding of Charles I., and
came across a contemporary account which showed that
Charles and his Queen went to Cobham Hall through
Rochester for their honeymoon, afterwards going via
Gravesend to London. I do not think this was known
to the present occupants of the Hall until I mentioned
it to Lady Darnley. The Brook family were the
Lords of Cobham in the time of Charles I., the
magnificent series of brasses on their graves in
Cobham Church being well known to antiquaries.
After about a year at Shorne I was appointed to the
organistship of Strood Church, near Rochester. The
Vicar, the Rev. J. W. Sheringham, was very musical,
while the Church had what was of some consequence
to me, a modern organ. Mr. Sheringham later in life
became Canon and Archdeacon of Gloucester, and was
a constant visitor to me in the Cloisters.
When the Volunteer movement arose, I joined the
band of the gth Kent Volunteers being then about
fifteen or sixteen years old playing the second cornet.
As I was a pretty good musician, it was no trouble to
me to play the parts on my instrument, and I rather
astonished the bandmaster by the way I read my part.
He did not know that I knew more about music than
anybody else in the band. The man who played
second cornet with me was a young house-painter, who
was very keen, but as he knew nothing about music,
was often dropped upon by the bandmaster ; in fact, if
there was a mistake in the cornet part he was generally,
" TA TA INSTEAD OF UM TA ' 39
and often rightly, credited with it. One day, however,
he was treated rather badly for a mistake of mine. The
part for the cornets was pretty often a dull succession
of single notes, marking the step of the corps on the
march, but varied now and then by a bar or two of
syncopation, i.e., notes which came after the beat. 1
came in badly with a note on the beat instead of after
it, the effect of which was to release a torrent of abuse
from our irascible bandmaster upon the poor house-
painter. " Now, Corporal," said the unlucky one, " it
wasn't me this time, it was Bridge. He played Ta ta
instead of Urn ta." This was his ingenious method of
explaining the syncopation, " Um " being a sort of grunt
that he gave to keep himself right. We all roared,
even the surly bandmaster, at this new and certainly
convenient technical expression and I admitted for
once that I was wrong !
Our corps had the honour of attending the great
Volunteer Review in Hyde Park, held by Queen
Victoria in June, 1860, and marching past Her Majesty
in brigade. Our band, however, was not allowed to play,
which annoyed us very much ; but we experienced a
greater annoyance, as the following will show.
The band of the gth Kent was not very large,
and comprised a varied set of players all, with one
or two exceptions, being mere beginners. We were
taught by a corporal of the Royal Marine Band,
and soon managed to get through three marches,
" Rory O'More," " Ninety-five," and " The Young
Recruit." Our corporal-bandmaster carried a large
brass instrument which played the melody an octave
below the cornets. With this " chromatic bullock "
as I have heard some one call such an instrument
and the assistance of our drummer, who laid it on
pretty thick, it did not much matter what the other
instruments played ! We were very anxious to march
40 A WESTMINSTER PILGRIM
at the head of the corps, and did so with fair success.
But we suffered a serious catastrophe at the
rehearsal for a certain review and march past. The
corps was paraded on the Esplanade, near the old
castle, to practise a march past. The band took its
station, in readiness to play one of the marches.
But the bandmaster did not turn up ! We got
very nervous as the corps advanced from the end of
the parade-ground and came on in dead silence, for
none of us dared start to play. As the leading
companies passed us the Captain (Savage, by name
and it suited him well on that occasion !) shouted out,
" Can't that band play a tune ? " All eyes
instantly centred on us, instead of on the march-past.
The assembled citizens chaffed us unmercifully, and
we felt indescribably foolish. The corps had to go
some distance before wheeling about, but ere they
could do this, " with one consent " we had bolted,
and hidden ourselves in the crowd. It was a very
humiliating day for us. Later on, when we found the
bandmaster, we let him know what we thought of him.
Although our band was not very good, I nevertheless
got some useful experience in playing the cornet,
always looking back with pleasure to my days as
a Volunteer.
One of the most notable things I remember at this
time in my musical experience was being allowed to
sit with the organist, Dr. Hopkins, at Exeter Hall,
during a performance of "Elijah" in which
Madame Goldschmidt (Jenny Lind) sang, and Mr.
Otto Goldschmidt, her husband (in after years one
of my dearest friends), conducted. I can still recall
the fire and expression which the great singer put
into the music.
Another musical experience is one for which I am
always thankful. Learning that Wesley was opening
UNDER GOSS, OF ST. PAUL'S 41
an organ in London at the great Agricultural Hall, and
never having heard him play, I determined not to miss
the opportunity of doing so. I attended the recital, when
he played his Andante in G and an extempore Fugue
on a very fine subject. I remember how much annoyed
I was by the way the people would talk as in these
days through the quieter parts of the Andante. This
was the only time I had the opportunity of hearing
Wesley.
Except for the concerts I have already referred to,
which were mostly of vocal music, we at Rochester in
the 'fifties had little opportunity of becoming acquainted
with music outside the Church, and there were then
no Local Examinations in music such as are now
held all over the Empire. I had a great leaning to
composition, writing some songs and part-songs, and a
little Church music ; but there were no scholarships to
be had (except at the Royal Academy, which necessitated
residence in London), so I moved pretty much in
one groove up to the time when my articles with
John Hopkins expired. Then, fortunately, I knew my
ignorance, and determined to place myself for com-
position under Goss, of St. Paul's. Most of my
work was sent by post, but I also went to him in
London for some lessons, for three or four years having
the benefit of his valuable help. He was a most pains-
taking teacher, and the exercises I did with him are now
among my most cherished possessions.
CHAPTER IV.
Canvassing the Parish -- Appointment at Windsor The
Hawtreys Private Theatricals Mrs. Oliphant Early Choral
Works Life-Guardsmen at a " Churching " " Reform "
Election at Windsor A Political Parrot Musical Degree
Ouseley and The " Stretto Maestrale " Arthur Sullivan at
Windsor Cathedral Appointment.
AT the age of twenty I determined to leave home,
and applied for several organistships, having a peculiar
experience as a candidate for a London church. After
a searching trial, I was one of four selected applicants,
and was then informed that the appointment was
in the hands of the Vestry, and it would be advisable
for me to canvass the parish in order to get votes. One
of the churchwardens was very much in my favour, and
furnished me with the names of people on whom to call.
I spent a whole day in waiting on people of all sorts and
conditions public-house keepers, ironmongers, bakers,
and other tradesmen. My reception was not altogether
cordial in many quarters in fact, the public-house
keepers looked upon me as a bit of a nuisance, and
thought I was a musician for once in the wrong " bar."
I did not obtain the appointment, because my opponent,
I was informed, was a Freemason, and secured the
Freemasons' votes. It was a curious ordeal, and one
which I do not think many living organists have
sustained.
Another post I tried for was the Parish Church of
Faversham, near Canterbury. Curiously enough, James
Turle, the organist of Westminster Abbey, was one of
the judges to select the best man, the other umpire
being Mr. Jones, the organist of Canterbury Cathedral.
THE HAWTREYS 43
I was not placed first, to the great regret of the Rector,
who rather wanted me. But it brought me a post at
Windsor, as the Rector wrote off to the Rev. Henry
Hawtrey, whom he knew, to recommend me for the
vacancy there. This was the first time I had met
Turle, and after succeeding him at the Abbey I often
referred to his having rejected me at Faversham. He
declared " It was Jones who preferred the other man,' 1
and as Jones was in his own country he let him have
his way ! Before the Windsor people wrote to me I
was sent for to London to see the celebrated Rev.
Frederick D. Maurice, who offered me the post of
organist at his church St. Peter's, Vere Street. But I
explained I must wait to hear from Windsor, and did
so, with the result that Mr. Hawtrey's offer was
accepted. I did not know what a distinguished man
Maurice was, but was struck with his charm of manner.
The Rev. Henry Hawtrey was the Vicar of Holy
Trinity, Windsor, but the moving spirit of the
choir was his brother, the Rev. Stephen Hawtrey,
mathematical master at Eton College. My appoint-
ment was not a very remunerative one, but it afforded me
opportunities in many directions which were welcome.
Thus I was able to attend the services at
St. George's, Windsor, where Dr. Elvey had brought
the music to a high state of efficiency far better at that
time, I am sure, than could be found at St. Paul's
or Westminster, or, I believe, in any other
Cathedral. Dr. Elvey was kind to me, letting me
go up into the organ-loft frequently. Thus was I able
to maintain my knowledge of the Cathedral Service,
which indeed I should have missed greatly, having been
accustomed to attend at daily service since I was six
years of age. The Rev. Stephen Hawtrey was a
musical enthusiast, and in his school at St. Mark's,
which he founded for boys at Windsor, he had music
44 A WESTMINSTER PILGRIM
very generally taught. It was from this school that the
choir of my church was formed. I worked hard with
the boys, having very large classes, and made them
read music well. We had at the church a full
Cathedral service, and sang a large number of the
best Cathedral anthems. At the school we gave some
important concerts, where for the first time in my life I
had the opportunity of conducting an orchestra. We
did " Elijah " and the " Hymn of Praise " more than
once ; in connection with " Elijah " it may be
interesting to note that the part of the Prophet at one
of the performances which I conducted was sung by no
less a person than Hubert Parry, then at Eton. Our
bass failed us at the last moment, and Hubert Parry
kindly undertook to sing the part. The thing I
remember most about the performance was the extra-
ordinary speed at which he sang " Is not His word like
a fire." Fortunately we had a good band, and although
the conductor was, naturally, inexperienced, the players
pulled him through very well. Curiously enough, two
of the leaders of this orchestra (then members of the
Queen's Private Band) I found many years afterwards
playing the leading parts in the orchestra of the
Royal Choral Society, to which I had succeeded as
conductor. During my term at Windsor I also had the
pleasure of preparing my choir for the performance in
the Lower School of Parry's Exercise for his Mus. Bac.
degree at Oxford, which he took while a boy at Eton.
Through the Rev. Stephen Hawtrey's influence
I was able to teach music a great deal at Eton
College, giving private lessons to the boys and
teaching class-singing in the Lower School. I also
had large classes at the house of the Rev. John
Hawtrey, and assisted in the production of many of the
musical and other plays in which he and some of his
sons and friends so frequently acted. In connection
PRIVATE THEATRICALS 45
with this I may claim to have helped to introduce
Mr. Charles Hawtrey to the stage, for I taught him a
song which he sang as Distaffina in " Bombastes
Furioso." In the same play, when essaying the title-
role, I once brought down the house with an unrehearsed
effect in the scene where Bombastes takes off his boots
and hangs them on a tree, the while he declaims :
" Who dares this pair of boots displace
Must meet Bombastes face to face."
In my ardour to launch my challenge at " all the
human race," I hauled off a stocking with one of my
long boots ; the audience were quick to notice my
dilemma, and embarrassingly prompt in letting me see
that they had done so. (This was at Manchester.)
Perhaps the most valuable friendship that I formed
at Windsor was that of the distinguished authoress,
Mrs. Oliphant. I was admitted to her family circle,
and taught her boys music ; and here, again, I helped
in private theatricals, on one occasion appearing as
Stingo, the Landlord in " She stoops to Conquer."
Theatricals had a great vogue at about this period,
Mrs. Oliphant being particularly fond of them. I
assisted in a good many of such entertainments, e.g.,
in " Twelfth Night," when Frank Tarver, of Eton
College, took the part of Malvolio, giving a perfect and
very diverting representation of this character. We
also did an opera of Offenbach's, " Barbe Bleue," some
of the songs in which were charmingly interpreted by
an officer of the Guards, whose name I do not
remember ; while at Eton, in the Mathematical School,
a delightful performance of Moliere's " Le Bourgeois
Gentilhomme " was given by members of the College,
to whom I lent assistance in preparing the music.
During my Windsor days the friendship of
Mrs. Oliphant was of great benefit to me. Through
her kindness I spent many happy evenings which
46 A WESTMINSTER PILGRIM
otherwise would have been somewhat dreary. She
encouraged me to compose, giving me such poems
as Tennyson's " In Memoriam," with passages marked,
which I have since set. She also gave me the life of
" St. Francis of Assisi," calling my attention to " The
Song of St. Francis," a translation of which appears in
the book. Some twelve years later I set it to music,
this being the first work I ever had performed at one
of the great Festivals. There were others in her circle
to whom I owe a deep debt for much kindness and
help. Alas ! most of these have passed beyond the
veil. This literary house was a blessing indeed,
fostering in me the love of good literature and
imbuing me with a desire to achieve some measure of
success in my profession. My kind friend lived to hear
of my knighthood, sending me a word of congratulation
from her sick room.
Trinity Church was attended by the Life Guards
and other regiments stationed at Windsor, and a fine
show they made, filling the galleries round which were
inscribed the names of all the Guards killed in action
in the Crimean War, from the drummer-boy to the
Colonel.
In connection with this church I cannot refrain from
recording a surprising incident of which I was a
witness. On Sunday afternoons there were generally
a number of babies from the barracks to be christened.
Before the ceremony of christening the mothers were
usually " Churched." On one occasion, when the
women went up the chancel steps to the altar rails, to
my astonishment a huge Life-Guardsman also went
up, and, I suppose, was " Churched " ! His companions,
who were to be godfathers, were in a state of sup-
pressed hilarity hardly consistent with the occasion.
My first experience of politics took place at Windsor.
I was one of the crowd at the railway station awaiting
"VOTE FOR ROGER" 47
the arrival of Lord John Russell and Mr. Gladstone
on their way to the Castle to resign after the defeat of
the Government on the question of the Reform Bill in
1866, and remember thinking what a little man was
Lord John, and what a striking face was Mr. Gladstone's.
Soon after there was a general election, the town of
Windsor being in a rare ferment. The old Members,
Messrs. Vansittart and Vyse, were opposed by Mr. Henry
Labouchere and Sir Henry Hoare. To the consterna-
tion of the Conservatives the two old Members were
defeated and the new candidates elected. There was
a petition against the election, and amongst others I
was subpoenaed ! I never knew on what grounds, but
it was not for bribery or corruption. I think it was a
question of the validity of my vote, which was a lodger's
qualification, my rooms being given to me as part of
my salary as organist. However, I was not called
upon to appear, as the petition was successful and the
Members were unseated. I was much gratified to
receive ^3 as compensation for my time spent at the
Court of Inquiry.
The old Members did not regain their seats, and the
new election was fought by Mr. Roger Eykyn and
another. Mr. Eykyn was a very prominent member
of the Radical party at Windsor, where his name was
well known. A funny incident came under my notice
with regard to this election. My friend Keeton (now
organist of Peterborough Cathedral), then a pupil of Dr.
Elvey, lodged with an old gentleman who was a violent
Tory, and who possessed a clever and amusing parrot
which was a great talker. The bird's cage stood
in the window, and I suppose he had heard "Vote
for Roger" shouted at all times by no end of
voices. To the consternation and annoyance of the
old gentleman one morning the bird yelled, " Vote for
Roger," " Vote for Roger." It is impossible to describe
48 A WESTMINSTER PILGRIM
the fury of the owner, who had always looked upon the
bird as a good Tory. He would, I believe, have wrung
its neck had it not seen the error of its ways. It was
a clever bird.
It was at Windsor that I made the acquaint-
ance of Dr. (afterwards Sir John) Stainer. He and
Mrs. Stainer (they were then living at Oxford)
knew the Hawtreys well, and once came into the
church to hear me play. This was the beginning of
a lifelong friendship between us, a friendship which
brought about the happy union of one of his sons with
my daughter.
Professor Donkin and his sons were also constantly
at the Hawtreys, and I had the great privilege of their
friendship and musical knowledge.
My life was a very busy one, as I had to do private
teaching as well as all my church and college work,
but I found time to study. Passing the examination
as a Fellow of the College of Organists in 1867, I
am now the senior member of that institution. I
was most anxious to get to Oxford, and if possible
become organist of one of the colleges. There were
not many such opportunities, but I very nearly succeeded
in getting Queen's College, being returned, after com-
petition, as one of two candidates whose names were
submitted to the Fellows. Unfortunately, and to my
intense disappointment, they gave it to the other man, so
my hopes of a residential Oxford life were shattered. I
determined, therefore, to take my degree in music,
which could then be done by passing two examinations
and writing an Exercise residence not being required.
My Exercise was accepted, and in due time I presented
myself at the final examination, the examiners being
Sir Frederick Ouseley, Dr. Stainer (then organist of
Magdalen), and Dr. Corfe, of Christ Church. An
incident in the viva voce examination is possibly worthy
Miss MARIA HACKETT (1783-1874), (THE " CHORISTERS' FRIEND ").
THE "STRETTO MAESTRALE " 49
of record. I have already mentioned my friend Keeton,
a pupil of Dr. Elvey. We were both desirous of
taking our degree, and used to meet in the evening,
either at his rooms or at mine, to work up the different
branches counterpoint, fugue, &c. In the course of
our studies, in an old Oxford examination paper we
came across the term " Stretto maestrale," which we
had never heard of before. Keeton undertook to ask
Dr. Elvey the meaning of it, but the old Doctor confessed
that it was new to him, so we got no further, except that
it made an impression on us. In the viva voce examina-
tion Sir Frederick asked me to explain the constituent
parts of a fugue. I did this, mentioning of course the
" Stretto." Then he said to me, " Can you name a
term that is sometimes applied to a ' Stretto ' when it
is in strict canon ? " In a moment my mind went back
to the " Stretto maestrale," and I wondered if I should
risk it or not. Before I replied, Ouseley added, " It is an
Italian term." " Oh," I replied, " the ' Stretto maestrale,'
of course," as if it were a very old friend. But I was
nearly floored by the next question, " Can you give me
any example of the use of this ' Stretto ' ? " As I had not
known what the particular " Stretto " was till that
moment, I was naturally rather puzzled, till Sir Frederick
kindly helped me by saying, " Handel uses it." I thought
of the "Amen Chorus" in "Messiah," and knowing
that it abounded in all kinds of masterly imitations, I
ventured to give it as an example. "Quite right;
very good," said Sir Frederick. Seeing my friend
Keeton, I of course told him all about it. He was going
up to Oxford at the next examination, and got a good
series of examples of " Stretto maestrale " ready for
the Professor. But alas ! to his great disappointment
the question was not asked. I heard afterwards that
Sir Frederick told a friend with whom he was staying at
Oxford that he was somewhat surprised that I was able
E
50 A WESTMINSTER PILGRIM
to answer that question, as he did not remember having
had it answered before, the term appearing only in a
very rare book. I told Sir Frederick years afterwards
what a little I knew about it at the time ! I passed
the examination, my Exercise being performed in the
Sheldonian Theatre, the Rev. Stephen Hawtrey sending
up a good part of our choir to sing in it. Some weeks
afterwards we performed it at St. Mark's School, the
tenor solo being taken by Arthur D. Coleridge, in after
years my very dear friend, and the bass by the Rev.
W. H. Bliss, then Minor Canon at Windsor. This was
in 1868, and I made the acquaintance of Arthur Sullivan
about this time. He was staying near Windsor, and
attended one of the concerts given at St. Mark's,
at which a setting of mine of some words from
Tennyson's "In Memoriam" ("The time draws near
the Birth of Christ ") was sung. Sullivan was very
kind and complimentary, at the same time pointing
out an awkward passage of modulation, which, he said,
" will always give you trouble," and so it has to
this day.
My mind was set upon obtaining a Cathedral appoint-
ment. This had always been my great ambition, and I
made application for two or three such posts, generally
coming within the last few for selection. I first met
Sir Frederick Ouseley at one of these competitions. He
was the judge at Llandaff Cathedral trial, and although
I did not get the appointment, he wrote me a very
nice letter, which later was useful as a testimonial.
This was rather early in my Windsor life, and before
taking my degree. At last I was fortunate enough to
be appointed organist of Manchester Cathedral, being
then just twenty- four years of age. My friends at
Windsor gave me many valuable presents, and I left
them with real sorrow, spending the last evening at
Mrs. Oliphant's hospitable house.
CHAPTER V.
A Stroke of Fortune Life at Manchester Professorial Work
Music in the Cathedral Inadequate Choir Mass Weddings
New Organ A tremendous choral bass " The little ' beggars ' in
front " Prescient Remark concerning " Gerontius " Mus. Doc.
Degree Halle at Manchester Halle and Dreams An
Involuntary Immersion Refused admission to Westminster
Abbey Retirement of Turle The Vacancy and Dean Stanley
" Choosing an Organist more difficult than choosing a wife "
Organist of Westminster Abbey.
A BIT of good fortune attended my candidature for
Manchester. I had heard that there would probably
be a vacancy at Leeds Parish Church, and believed
that circumstances favoured my being appointed. It
would have been an honour to secure a post that
S. S. Wesley had filled with so much distinction for
some years before he proceeded to Winchester. I for-
warded my testimonials, and received an invitation
from the Vicar to come and stay at Leeds. At the last
moment, however, the organist did not resign ; but the
Vicar pressed me not to forego my visit. Meanwhile I
had got news concerning Manchester, and hastened to
apply there, explaining that all my testimonials were at
Leeds, where I was proceeding the following day. To
my surprise the next morning brought a letter from
Manchester, intimating that I must forward my testi-
monials without delay, as the Chapter was holding
a meeting forthwith in order to select candidates.
Twenty-four hours later, with as many documents as
it was possible to secure, I was en route for Manchester.
Arrived there, and tendering my ticket, I found my way
barred by the collector, who, to my astonishment and
no little indignation, told me I must pay again, as I had
52 A WESTMINSTER PILGRIM
come by the wrong line ! It seemed that there was no
interchange of traffic over the competing lines running
from Leeds, and that I had bought my ticket for one
and travelled by another. There was no alternative
but to pay, whereat I grumbled eloquently, while the
collector administered consolation by pointing out that
I had arrived an hour sooner than I should have
done travelling by the right train. And here comes
my bit of good fortune. I went straight to the
Cathedral, where a service was going on. A verger
conducted me to a vestry. Here I deposited my papers
with an official, and explained who I was. Glancing
through them, he casually remarked, " Well, it 's lucky
you have come just now ; the Chapter is holding a
meeting after the service to select candidates." I emerged
from my encounter with this gentleman conscious of
rather mixed feelings, and with an injunction laid
upon me to attend again in the afternoon, when I
learned with great satisfaction that my candidature was
approved, and was asked if I would be prepared to
play the next day or would prefer to wait for my
turn. Of course I elected to play the next day. Thus
my success at Manchester turned largely upon the
accidental circumstance of my having travelled upon
the wrong line, thereby arriving an hour sooner than
otherwise I should have done, which undoubtedly
placed in my hands an opportunity that developed
favourably for me. It is curious to think that a
momentuous step in my career was taken when I
boarded the wrong train.
Residence at Manchester was certainly not quite
the kind of Cathedral life I had anticipated, but it was
a fortunate move for me. The difference between the
quiet of a Cathedral city like Rochester, or even
Windsor, and busy Manchester, was immense. I was
welcomed by the musical people, and received much
"EH! BUT HE'S ONLY A LAD" 53
kindness and hospitality generally. The Cathedral
services were at a very low ebb, the choir being
extremely small in numbers and the organ not first-
class. An incident of my early days in Manchester
I must not forget to mention in connection with the
organ. The instrument stood on the North side of the
Choir, and after the services many of the congregation
would walk up from the Nave to the Choir while
I was playing the voluntary, and peer through the
screen to see the "new mon." I was a little gratified
at first, till one day an old lady popped her head
round the screen to look at me. Then she turned
to her friend and said in an audible voice, which
even reached me through the Bach Fugue with
which I was endeavouring to impress her : " Eh ! but
he 's only a lad."
A year after my appointment, Goss allowed me to
see a letter which he had received from a well-known
musical amateur in Manchester, who was a great
friend of his, and to whom I had written when I was
a candidate. I think I may be pardoned for quoting
the following extract :
" Our recommendation of young Bridge has been
a distinguished success, and / have been thanked
by the authorities over and over again for sending
your recommendation to them. He has done us
more than credit."
Although, as I have said, the Cathedral services had
reached a rather low ebb, there was a wholesome zeal
for Cathedral music among Churchmen at Manchester.
The conservation of this fine tradition rested mainly, I
think, with a few enthusiastic amateurs, prominent
among whom was Benjamin St. John Baptist Joule.
This gentleman (a brother of James Prescott Joule, the
54 A WESTMINSTER PILGRIM
distinguished physicist)* was a devoted lover of
Cathedral music, and moreover a very competent
organist.
Goss knew him well. He once wrote to me in his
humorous way hoping that I had made the acquaintance
of his friend " Benjamin St. Matthew St. Mark St. Luke
St. Joule." I could not resist telling Joule of this,
and it amused him greatly. Joule and a few friends
maintained a full Cathedral service at one of the
important churches (St. Peter's) at Manchester. The
choir, however, had only women's voices for soprani
instead of boys. The church became justly famed for
its organ recitals, and I heard Sir R. Stewart, Best,
E. J. Hopkins, Henry Smart, Walter Parratt, and
others, perform there. Joule did good work in his day
for the cause of Cathedral music, and deserves to be
remembered with gratitude at Manchester.
It was not long before I obtained a great deal of
work, not only in teaching, but by conducting local
choral societies. I worked very hard at this time, for
most of these societies were outside Manchester, and
necessitated railway journeys home late at night.
But what was much more valuable to me was the
chance really for the first time in my life of hearing
the best orchestral music. Halle's Concerts were then
in full swing, and I attended them regularly. They
were a wonderful institution in those days, and
made Manchester superior to London in affording
opportunities for frequently hearing great orchestral
works well rendered.
After a year or two I became a member of the
teaching body of Owens College, having been
* His discovery of the mechanical equivalent of heat established
" Joule's Law." A tablet commemorating the eminent physicist and his
scientific labours was subscribed for and placed in Westminster Abbey,
near the organ, in company with the memorials of Darwin, Lister, and
other scientific men.
DIFFICULTIES WITH THE CHOIR 55
requested to take evening classes in Harmony. This
was the beginning of the present Faculty of Music
in Manchester University. It was an admirable
experience, and a great preparation for the work I
have since done at the Royal College of Music and
elsewhere.
With regard to the Cathedral at Manchester, it was
very difficult at first to obtain a satisfactory service.
The week-day choir comprised only four Lay- Vicars and
about sixteen boys. On Sundays the number of the
Lay- Vicars was slightly augmented. I tried to get a
fuller choir, and succeeded for a time in adding a few
voices, but these were again dispersed. It appeared
that by an Act of Parliament, when the Manchester
Diocese was founded and the old Collegiate Church
became a Cathedral, some arrangement was made for
the benefit of various incumbents of the old parish,
so that they might get a share of the superfluous
revenues of the Dean and Chapter. This made them
very jealous of their rights, and very much opposed
to much expenditure on the choir and Cathedral. I
am glad to know that all this was altered under the
energetic rule of Bishop Welldon, the late Dean ; but
during the six years I was organist, it was a great
trouble to me. Then, again, the training of the boys
was in the hands of the Precentor (instead of the
organist, as of course it should have been), and the
Precentor did not do it himself, but engaged a very
able double-bass player to do the work ! All these
difficulties were very trying, yet I made the best
of them, as always of similar troubles in my career,
and think I may claim that upon leaving the Cathedral
of Manchester its services were at a good level,
considering the materials at my command. One of
my best friends was Mr. (afterwards Sir William)
Houldsworth. He was one of the Churchwardens
56 A WESTMINSTER PILGRIM
(the Cathedral on its parochial side having three such
officials), and was keenly interested in the music, being
himself a very fair amateur organist.
The Choir of the " old Church " as Manchester
folk still delight to call the Cathedral is a
charming specimen of Pointed Architecture. The
stall-work, with its richly-carved canopies a beautiful
feature is the level cornice surmounting these is
some of the most elaborate extant, as will be seen
from the illustration which I am able to reproduce
from an engraving in Edward Baines' " History of the
County Palatine and Duchy of Lancaster." In the
delicate decorative panelling of the roof are still to be
seen some remains of a lost art in enamel-work, known
as "wax paint."
Years before I went to Manchester, restorers had
been at their nefarious work. They pulled down the
old 15th-century rood screen which divided the Choir
from the Nave, and with it removed the little one-
manual Father Smith organ a gem in artistic
conception which had stood upon the screen. They
would no doubt have ruthlessly sacrificed also the return
stalls, and so made a clean vista from the East to the
West end of the Church. But the Dean and Canons
cherished these stalls, and would not relinquish them.
For many years there was an ugly gap where the screen
and little Choir organ should have stood, the
beautiful old screen being hidden away in various side
chapels. A new organ was erected in the North
Aisle of the Choir, at the East end of the stalls.
The Sunday services were held in the Nave.*
The singers being so far from the organist, it was
manifestly difficult for any sort of direction to be
established, and the general effect was of course
* The Nave, built in 1465-68 by Warden Langley, is wider than that of
any other Cathedral in England, measuring i04-ft. across its five aisles.
MASS WEDDINGS 57
bad. No wonder the organist at times had cause for
complaint, for it would frequently happen that while
morning service was being conducted in the Nave, a
number of people were actually being married in the
Choir. The Cathedral seemed to be a popular resort
for this form of contract. I suppose that people who
were domiciled in the old parish, and desired to be
married in the " old Church," could do so. At any
rate, on certain Sundays in the year the number of
weddings was so great that although dozens of couples
were married simultaneously, i.e., with one reading of
the service, it was now and then impossible for the
officiating clergyman to dispose of the throng of clients
and be able to take his place at the morning service.
The organist's task in essaying to accompany the
Psalms with some thirty or forty people standing round
the altar rails and shuffling about was no light under-
taking.
Soon after I was appointed to Manchester, Sir
William Houldsworth offered to build a new organ
and to restore the old rood screen. This was done,
and its achievement realised a splendid and generous
project. The upper part of the rood screen, however,
is from designs by Sir Gilbert Scott, to harmonize
with the case of the Hill organ, also from his designs.
The old Father Smith organ is, I am glad to say,
still carefully preserved. In my time we occasionally
used it for services in a side chapel of which there
are several branching off from the Choir.
There was one remarkable old bass in the choir, by
name Stocks. He had a tremendous voice, and one
day nearly frightened me to death. It was soon after
entering on my duties, and an anthem of Kent's was
being sung. There is a quartet to the words, "Thine,
O Lord, is the greatness," and this went on nicely
enough until the ascending passage to the words
58 A WESTMINSTER PILGRIM
'" And the power, and the victory, and the majesty "
was reached. At the words " and the majesty," Stocks
and the choir on his side broke in fortissimo, Stocks
.giving out a top E flat on a broad Lancashire a on the
word " majesty " which nearly blew my head off.
It was a bit of dramatic effect which was understood at
Manchester, but for which I was not prepared. I told
Stocks of the effect it produced on me, and he was
delighted. One of the men told me Stocks used to
drive a coal-cart when young, and that before I came
he often sang an anthem by Spohr, beginning, " Come
up hither," pronouncing the opening words, " Coom
oop," just as he did in his old coal-cart days. Some
of the Lancashire singers in Cathedral and Church are,
or were, at any rate fifty years ago, somewhat original in
their notions. I remember an experience which occurred
to a pupil of mine. He was appointed organist
to a new church in the suburbs of Manchester.
I forget his name, but we will call him Jones. He
had a friend whom we may call Smith, who possessed
a stentorian bass voice but little musical knowledge.
Smith however begged hard to be allowed to join the
choir, and Jones, against his better judgment, at last
consented. On the following Sunday Smith appeared
in the choir, and when the Venite started he immediately
began singing the soprano part, but two octaves below
the proper pitch! A tenor singer next him seized a
chant-book, and pushing it before Smith, said : " This
is the bass part, man, this is the bass part." " Oh !
never mind the bass part," said Smith, " I'll sing like
the little ' beggars ' * in front."
Candidates for admission into Cathedral choirs have
sometimes very hazy notions of the music which is
usually sung, and also of the standard of efficiency
* Smith, indeed, with unconscious irreverence, used a warmer
description, which I am compelled to omit.
VISIT TO TENBURY 59
required. At a certain Cathedral not far from
Manchester a candidate for a vacant bass lay-
clerkship having been summoned to attend for trial,
was told he would have to sing a solo of his own choice
at the afternoon service. He seemed ready to do so,
and after some cogitation announced that he would
sing " The Wolf " !
Another candidate, of very bucolic aspect, attended
a trial of voices and was apparently much surprised
when a lay-clerk placed a volume of Greene's Anthems
before him, one of which he was to read at sight. He
looked with contempt at the volume, and said : " Why,
mon, dost thou sing fr' bukes here? I canna' sing
fr' bukes." And taking up his hat, he left in high
dudgeon.
In the early 'seventies, at the time when I began to
think about proceeding to the degree of Mus. Doc., I
visited Ouseley at Tenbury. Here Sir Frederick main-
tained a daily Cathedral service in the Chapel, which,
along with the quaint mediaeval atmosphere that somehow
seemed everywhere to attach to the College, I enjoyed
very much. Sir Frederick loved Cathedral music, and
undoubtedly his devotion to what became his life-
work, and his labours at Oxford, did much to establish
higher standards and ideals in the profession. I had
come to know him well, and valued his friendship very
much. I have often acted with him as examiner at
Oxford; there was a quiet charm attaching to his
personality that made intercourse with him exceedingly
enjoyable.
A curious interest attaches to my visit to Ouseley on
the above occasion. But before speaking of this I must
go back a few years. In my boyhood at Rochester I
had formed an aquaintance with a Roman Catholic
priest, who, intensely fond of music, would come
frequently to the Cathedral services. He was, I think,
60 A WESTMINSTER PILGRIM
a chaplain to the Forces. The last time I had seen
him was on an occasion when travelling to London
with my mother. He joined us in the train, his destina-
tion being somewhere abroad. Just before my visit to
Tenbury I was surprised at receiving a letter from him,
in which he explained that he was occupying the priest's
house in the establishment of a well-known Roman
Catholic family near by, and that he would like me to
call upon him.
This I hastened to do, and after leaving Tenbury
spent some very pleasant days with my early friend. His
musical enthusiasm had not waned. We found much
to talk about on musical subjects, and once or twice my
exercise for the Mus. Doc. degree, which I was then
embarked upon, came up for discussion. One evening,
in his library, he took down a book and read to me some
portions of that wonderful text, Newman's " Gerontius."
" Now," said he, " if you want something to set to
music, why not undertake this ? " And he added,
" The man who sets this worthily will make an
undying reputation." He presented me with the book,
which I brought away, and studied carefully, but I
confess the subject seemed beyond my powers. More-
over, it dealt with matters with which I, not being a
Roman Catholic, was really unfamiliar, and to which it
would have been impossible for me to do any justice.
But I went so far as to submit the idea to Mr. Joseph
Bennett, who had provided me with a libretto (" The
Repentance, of Nineveh") for a work that I had in
hand for the Worcester Festival. He agreed with me
that the imagery of the poem demanded for its musical
setting a temperament as distinct as that which had
produced the moving verse, so I relinquished the idea
of undertaking it. Yet not far away from the house
wherein my Roman Catholic friend made his prophetic
pronouncement, there was then living the man who
DOCTOR'S DEGREE 61
before many years would have achieved the distinction
foretold Edward Elgar, whose unsurpassable setting
of " Gerontius " is known and reverenced wherever
choral singing is practised.
In connection with my desire to procure my Doctor's
degree I may mention a curious little incident. I had
been to the public School of Rossall to examine in music.
Other examinations were held at the time, and I
travelled back with one of the examiners Mr. (now
Lord) Moulton. He was so kind as to ask me about
my work, and I told him that I was just contem-
plating trying for my Doctor's degree if I could
find the time. " Oh, yes," he said, " don't neglect
that." " Get all the degrees you can, and as soon as
you can." This made an impression upon me, so
I set to work to compose my Exercise, which was
accepted, and then presented myself again at Oxford
in 1874, passing the examination. My Exercise was
performed in the Sheldonian Theatre, many friends
coming from Manchester to assist, besides others at
Oxford, Walter Parratt, then organist of Magdalen,
playing in the orchestra. It was fortunate that I
took Mr. Moulton's advice, for in a few months the
appointment of Westminster Abbey became vacant, and
it might have made a difference. My Manchester friends
were much interested in my degree, and I was handed
a substantial cheque, subscribed by various gentlemen,
to pay the expenses of the performance at Oxford.
The most important event at the Cathedral of
Manchester in my time was the Consecration of Bishop
Fraser. I composed a special anthem for the occasion
(" The Lord hath chosen Zion "), and as the Archbishop
of York was musical and desired to take his part in the
"Veni Creator," I got Dr. Monk, of York Minster, to
make a special setting for this service. Bishop Fraser
was always a kind friend to me.
62 A WESTMINSTER PILGRIM
Halle was a great musical power at Manchester, and
deservedly so. He had established a fine orchestral
and choral force, and gave concerts of first-class
importance every week at Manchester and in many
of the great Northern towns. He was an excellent
conductor, without any tricks or oddities. As a con-
ductor of choral music he was just as successful
as with the orchestra, which is not always the case.
He did not train the choir, that being done for him
by a chorus-master of splendid energy and resource,
Charles Hecht. The choir worshipped Halle, the
Lancashire lads and lasses coming entirely under his
sway.
I think he was never nonplussed but once. This was
during one of the many performances of Berlioz's
" Faust " (a work that Halle had really restored to
life, at least in England). In the well known Serenade
for Mephistopheles there is a dramatic and dangerous
part for the choir, who have to come in with a
sudden satirical " Ha ! " in the course of the song. An
enthusiastic tenor in the choir was always very alert
and on the spot to those who watched him, as I often
did. But on this occasion he was a little too alert, and
just a moment before the whole choir should enter, he
came in alone with a loud nasal " Ha ! " The effect
was fearful, the choir could hardly go on, the audience
were convulsed, and Halle well he would have
killed the man, I am sure, if he could, and he tried to
do so with his eye. I never saw that tenor again, some
say he emigrated !
Halle had many good stories, which he told
wonderfully well. There was one about dreams,
and how they might come true. The example he gave
of this curious fact is not, I think, entirely unknown,
although I have not myself seen it in print. (I
think I recollect it pretty well even after forty-four
THE LOTTERY TICKET 63
years ! ) : A girl bought a ticket in a lottery* in
which were large money-prizes. She had applied to
the local authority, and asked particularly that she
might have No. 23. They told her they had not got
the number, and she must have another. This she
absolutely refused to accept, and she was so pertinacious
that at last they said they would see if they could get
No. 23 for her. This they did, with the result that she
won a good prize. When she went to claim the money
the authorities asked her why she had insisted upon
that number, as it seemed so odd that she should have
done so, and so very remarkable that it should have
won a prize. They were sure there was no cheating in
the matter, but why did she demand No. 23 ? " Oh ! "
she said, " because of my dream. I was thinking about
the lottery, and I dreamt one night that I bought
No. 7. The next night I dreamt the same thing
again, and on the third night, too. So I said to myself,
' Three times seven is twenty-three ; that 's the number
I'll have.' "
Whilst at Manchester, I was surprised at the amount
of music to be found among amateurs. Many well-to-do
professional and business men had organs in their
houses, and I was not long in making many kind and
hospitable friends. Among the professional musicians
were several men of mark. Charles Hecht, Halle's
chorus-master, was a first-class musician and a delightful
man, and I learned much from his wide knowledge of
music. With Dr. Henry Hiles, also, I formed a cordial
friendship. He was not easy to get on with, so it was
reported ; but I found in him a real friend, and we saw
a good deal of each other. Altogether my Manchester
life was a pleasant one, and although I would not
have cared to live in that city all my days, yet I
cannot be too thankful that my early years as a
* The scene is laid, I suppose, in Halle's native Germany.
64 A WESTMINSTER PILGRIM
Cathedral Organist were spent in a place so musical
and so alive, where it was not possible to rust or
get lazy.
It was indeed an arduous life that I led in the cotton
city, so that I was glad now and then to run away from
the mists and rain, and the roaring tide of traffic, to
seek a quieter scene. Thus it came about that I paid
my first visit to the English Lakes, staying with
Dr. Troutbeck at the Vicarage of Patterdale, near
Ullswater. I recall an absurd experience that
befell me there, which I think I must describe.
We were out for a long walk, and I was interested
in watching some trout, always an attraction to
me, darting about in a little stream. I leaned
over I forget now whether it was a bridge, or
a rail at the side of the stream to observe more
closely, but my centre of gravity must have been
disturbed, for suddenly I found myself taking a header
into the water. For a moment I laid upon the bottom,
and then floundered out ! I am bound to say I did
not get much sympathy from Dr. Troutbeck or his
family ! It was six miles from home, and I had to
walk like an athlete to keep my blood in circulation.
Afterwards, at the Abbey, we would often laugh over
the recollection of this episode.
Although Manchester at that time was a long journey
from London, I neglected no opportunities for
keeping myself familiar with what was going on in the
Metropolis in the way of music. For instance, I made
a great effort to hear Bach's " Passion " music
produced under Dean Stanley's auspices conducted
by Barnby in Westminster Abbey; a very notable
event which really set an example that has been
widely followed. I had been promised a ticket, but it
did not arrive. However, I went up to London and to
the Abbey, but was sternly refused admission, as I had
MANCMKSTKR CATHKDKAL : THK CHOIR (LooKixr, \\'EST).
(Showing the Original Position ol the Father Smith Organ.)
CANDIDATURE FOR THE ABBEY 65
no ticket. I might have said, " You won't let me in
now, but you will some day," but I didn't, and
solaced myself by going to the opera and hearing
"William Tell." Also, later on, I attended the dinner
given to Sir John Goss on his knighthood. The
chair was taken by old Cipriani Potter, and I had the
honour of an introduction to Sterndale Bennett that
night, Sir John presenting me to him as one of his
pupils and organist of Manchester Cathedral. Bennett
congratulated me, and said to Sir John, " These young
men begin where we leave off! "
I was so fortunate as to see Verdi direct the perform-
ance of his splendid " Requiem " in the Albert Hall, in
1875, little thinking that I should come to conduct the
same work in the same place. He was a distinguished
conductor, and revealed no eccentricities. On a later
occasion (in 1877), in the same hall, I saw Wagner
conduct or try to conduct some of his own works.
But he was really hopeless as a conductor. Had it not
been for Richter, the affair would have been a pitiful
failure.
In 1875 it was announced that James Turle, the
organist of Westminster Abbey, was about to retire,
and that a successor to him would be appointed.
Needless to say, in common I suppose with many of
my contemporaries, I was somewhat excited over the
possibility of such a prize as the organistship of the
Abbey falling to me, but must candidly confess that
I did not at all count upon it. However, in the course
of a short time I received a letter from Canon
Duckworth on behalf of the Chapter, saying that
my name, with others, had been brought before
them as a possible successor to Turle. This I no
doubt owed principally to Dr. Troutbeck, who was
Precentor at Manchester when I went there. He left
soon after to become Minor Canon at Westminster.
66 A WESTMINSTER PILGRIM
Canon Duckworth was his brother-in-law. I had spent
six years at Manchester, was still young, and had
taken the degrees of Mus. Bac. and Mus. Doc. by
examination, so that I had some fairly good credentials.
There was no competition, but Canon Duckworth
asked me to send the names of a few people for
reference, a request that was easily fulfilled.
Dr. Stainer kindly helped me, Dr. Herbert Oakeley,
Henry Smart, Barnby, and Dr. Edward Hopkins
being also among my supporters. I was able to get
Smart's help from the fact that he had attended the
Cathedral of Manchester when I opened the new
organ, and so had heard me play. I did not know
him very well, but went to Stockport to interview a
musical amateur who was an intimate friend of Smart's,
and with whom he constantly stayed. I told him what
was in the wind, and he said he would write to Smart
for me, telling me afterwards he had done so, adding
that he had written a letter that would " fetch a duck
off the water" !
One incident that must not be forgotten was connected
with Bishop Fraser, whom I went to call upon, knowing
he was a great friend of Dean Stanley's. When
I came in, he received me in his most kind and
genial way, gave me tea, and then told me he had been
preaching at Westminster the previous Sunday, when
Dean Stanley had asked him about me. He had
told the Dean that I was so well thought of, and so
happy at Manchester, that he did not think I would
come. I thought this was a very good testimonial.
The appointment was not made for some considerable
time, the task of selection, I believe, causing Dean
Stanley a great deal of anxiety ; his wife, Lady
Augusta, wrote in a letter to one of my friends, which
was afterwards shown to me, that she thought choosing
an organist was more difficult than choosing a wife !
APPOINTMENT TO WESTMINSTER 67
As I have said, there was no musical competition
for the appointment, but I had to come up and
interview Dean Stanley. I did not glean much from
him, and am bound to say I went back rather discour-
aged at my prospects, not from anything that he had
said but because so little was said. However, after a
time a letter came from the Dean telling me I was
selected, and asking me not to mention it for a few
days as he was anxious to put a correct statement in
the Press, but could not do so until his return from
Bedford, where he was inaugurating the John Bunyan
Memorial. So I had to possess my soul in silence-
rather a difficult thing. I did make a confidant of one
man, with whom I had held many anxious consulta-
tions during the period when the appointment was
pending, and he kept the secret, till in a few days the
announcement was made in The Times, when the
Manchester people congratulated me very warmly.
I had to run up to the Abbey to receive the formal
appointment, meeting there for the first time one of
the dearest and best friends I ever had in Canon
Prothero. He was kind enough to receive me with
great cordiality, and it was through his influence that
I was enabled to have a residence in the Cloisters at
once, although that had not been promised to me.
Turle, on his retirement, continued to live in his
house until his death ; and when that event occurred,
the house, together with two of the Canons' residences,
passed by Act of Parliament to Westminster School.
An allowance in money was suggested to me instead of
a residence, but I was glad to accept Littlington
Tower, for though there were very few rooms it was
large enough for the time being. In 1888 it was greatly
improved and enlarged under the superintendence of
J. L. Pearson, whose work of restoration of the North
Transept of the Abbey is so well known.
68 A WESTMINSTER PILGRIM
No quieter or more delightful spot can be found in
town. A fine plane-tree grows in the centre of the
quadrangle, where a fountain gives a pleasant sound.
The fountain occupies the site of the old cistern which
supplied the residents of the Cloister garth with water,
the water being conveyed from the West Bourne (now
the Serpentine, in Hyde Park) in wooden pipes con-
structed from hollowed trunks of trees. Thrushes and
blackbirds are often heard here, and of course the
London pigeon has made this quiet corner his own.
A tomb on the east side is that of Dr. Wilson, who
is almost certainly Shakespeare's Tenor. "Sigh no
more, ladies " is mentioned in the First Folio to be
sung by "Jack Wilson," and everything points to this
being the grave of " Jack." The stone bears a quaint
inscription :
JOHN WILSON
Dr. in Musick here interred
Dyed February ye 22. 1673.
Aged 78 yeares 10 months and
17 dayes.
An amusing story in connection with this stone was
told to me by the late Dr. Cummings. The inscription
was nearly illegible, and the Dean and Chapter, I
suppose at Dr. Cummings' suggestion, ordered it to be
re-cut. While the mason was executing his task Dr.
Cummings stood by and told the man a few particulars
of Dr. Wilson, how that he was Shakespeare's Tenor,
and Professor of Music in the University of Oxford,
and altogether a great musician. After a while the
man paused in his work, and said, " Ah ! I wish I
had known that when we took that there drain-pipe
through him . . . ! "
* " To what base uses we may return, Horatio ! Why may not
imagination trace the noble dust of Alexander, till he find it stopping
a bunghole?" Hamlet, Act 5, Sc. i.
A STORY OF LADY HAMILTON 69
According to Augustus Hare,* " In the Littlington
Tower [now a portion of my house] the beautiful Emma
Hart, afterwards Lady Hamilton, lived as servant to
Mr. Dare." I believe this gentleman was a member of
the choir. His . son became organist of Hereford
Cathedral. The Tower, excepting the lower window
and entrance door, is still very much as it was in Lady
Hamilton's day. I give on another page an interesting
illustration reproduced from The Mirror of 1840.
Upon leaving Manchester for the Abbey, I was
presented with some handsome silver ; also a purse of
money, which proved very useful at the time, while the
Dean and Chapter gave me a present of books for
my library. I was genuinely sorry when the time
came to bid farewell to the scene of so much kindness
and musical interest.
Alas ! very few of my intimate friends in Manchester
are now living, but I still have visits from some who
knew me when I was, as the old lady said of me,
"only a lad."
* "Walks in London," vol. ii.
CHAPTER VI.
Westminster Abbey Death of Turle Dean Stanley's role of
Musical Critic Dean Stanley and Bach's " Passion " Early
Difficulties with the Choir The Press and the Lay-Vicars
An " Error of Judgment " A Dental Interlude " Bellows v.
Diaphragms " Professorial Appointments : National Training
School and Royal College of Music Sir George Grove and
Sir Hubert Parry Three Registrars of the Royal College
Attwood and Mozart : Exchange of Compliments Educational
and Literary Publications The Caxton Celebration.
I COMMENCED my duties at the Abbey in 1875, after
the Summer holidays, being well received by my
predecessor, James Turle, who still retained his title of
Organist, and, as I have said, continued to live in his
house in the Cloisters. This welcome was all the more
acceptable to me, inasmuch as he had been assisted for
some years by a clever pupil (who afterwards became
organist of the Chapel Royal Charles Jekyll) who
possibly he had hoped might have succeeded him. He
never interfered with my work in any way, or proffered
any but the kindest criticism and counsel. During
the few years he spent in his retirement from active
work, I can truly say I did all in my power to
add to the comfort of his days, and when occasion
arose I would seek the benefit of his advice.
He was a devoted whist-player, and I frequently ran
into his house and joined in the game. Another partner
in the rubber was a brother of Turle, who had
been organist of Armagh Cathedral. When the Irish
Church was disestablished I believe he commuted his
A SUPPLY OF DRUMS 71
emoluments and retired with a considerable sum as
compensation for the loss of his office. It was said
that the old gentleman drank the health of Mr.
Gladstone to whom he owed this bit of good fortune
every night in a glass of port.
Turle played the service now and then, the last
time being on June 28th, 1880, the anniversary of
the Coronation of Queen Victoria. When he played
out with the National Anthem, I remember saying to a
friend, " I feel this is the last time the dear old man
will play in the Abbey " ; and so it was. He died on
June 28th, 1882.
In connection with seeking Turle's advice, I will
venture to tell a story that reveals Dean Stanley in
a new light, that of musical critic. Before being
very long at the Abbey it fell to my lot to play the
Dead March in " Saul." I played it as I had heard
Hopkins and other musicians play it, but to my surprise
found that the Dean was much disappointed by my
performance. I took the opportunity of seeing him and
asking him what was wrong. He said it did not sound
like the Dead March in " Saul " which he had been
accustomed to from Turle, nor at all like the Dead
March as played by Dr. Buck, of Norwich, which
he had heard some thirty years before. I could not
help replying that I did not suppose it did sound
like Dr. Buck's performance, as I had never heard
that Dr. Buck was a capable organist, although an
admirable teacher of boys, but promised to take the
opportunity of asking Turle what his particular
version was. This I did, and soon found that it
included the introduction of some remarkable drum
effects, which I had somewhat modified. I then told
the Dean that if he would come and hear me, I would
play it again. He came into the Nave one evening,
when I gave him a supply of drums far exceeding what
72 A WESTMINSTER PILGRIM
Turle had done (I must admit for that occasion
only), and he wrote me a note saying he was quite
satisfied. Since then I have played the Dead March
many times, and fancy I am somewhat celebrated for
my drum effects, although these, I am afraid, are not
approved by some of my brother organists.
I am obliged to put on record that the musical
services of the Abbey were not in a very flourishing
condition under Dean Stanley. He did not, I believe,
either love or understand music, and the artistic poverty
of the daily service did not touch him. Of course I am
speaking of the days when he was suffering under a
great domestic sorrow. At such a time of affliction
one hesitated to worry the Dean on such matters as
the attendances of the choir. Although I feel it my
duty to make this statement concerning his scanty
interest in the daily services, yet all musicians and for
the matter of that, all churchmen owe Dean Stanley
a deep debt of gratitude for having authorised the first
performance of Bach's " Passion " music in an English
Cathedral or Abbey Church. This event took place
at the Abbey before I came, the musical direction
being in the hands of Joseph Barnby, whose brother
was a member of the choir. Barnby, along with
his brother, lived for a time in a part of the house which
I now occupy. Not only did Dean Stanley authorise
the performance of Bach's " Passion," but he paid the
expenses of the band out of his own pocket. He did
this also for some other oratorio performances which I
directed in the early years of my appointment.
The Dean was sometimes singularly absent-minded,
and now and then seemed a little at sea when the
boys were taken into the Jerusalem Chamber to
be admitted into the choir. There is always a little
ceremony, a few prayers and a short address by the
Dean, the parents being present. Dean Stanley once
ERRATIC LAY-VICARS 73
caused some consternation among them by saying that
he hoped they " would see that their boys attended the
services punctually." As the boys were then living in
a Choir-House, under a master, and the parents only
saw their sons at rare intervals, it was not easy to see
how they could comply with this request.
So far as the choir was concerned, the chief difficulties
which operated against a good choral service were lack of
discipline and the erratic attendances of the Lay- Vicars.*
There were some excellent singers among them, but
also some old and very inferior ones. In one case the
Lay- Vicar, on account of illness, never attended,
but was represented by a deputy, and a very poor
representative he was. Others attended apparently
when they liked, having made special arrangements
when they were appointed many years before to enable
them to be absent very frequently. Then again,
although there were twelve Lay- Vicars on the
Foundation, only six were required to come on
a week-day, certainly a very meagre choir for such a
building as Westminster Abbey. Another curious and
astonishing custom also prevailed. Some of the choir
were also members of the Chapel Royal, St. James's,
and in order to fulfil their duties at the Chapel Royal
morning service they were allowed to walk out of their
seats in the Abbey when the sermon began ! A little
* It is astonishing that this abuse should have continued as long as it
did. And yet forty years before I was appointed to the Abbey attention
was drawn to the matter in an influential paper of that period. The
following letter appeared in its issue for March 8th, 1835 :
" DEAR , . . I pray you to tell me how it comes to pass that
the Cathedral service is performed in a more slovenly manner in the
Diocese of London than in any other with which I arn acquainted. I
allude to that portion of the Service which is chanted by the choir.
The choristers and singing men at St. Paul's and at Westminster
Abbey do their part at a regular gallop, and to wind up the whole with
becoming decency, they annoy the congregation by shuffling out as
soon as they finish that portion of the service which is allotted to them.
Their avocation cannot, one would think, be so momentous that they
are unable to spare time to remain in their seats till the conclusion of
the sermon. These remarks I have heard from others a score of times."
74
door was provided by which they could creep out
unobserved, or slip in, if they came late. I have on
more than one occasion found that the whole six men
of one side had melted away during the sermon. They
did not all belong to the Chapel Royal, but the
"general impression" was that they did.
Another thing which seems incredible was the
entire absence of full-choir rehearsals. The boys
were practised daily, but there was no regular practice
for men and boys combined. Occasionally and par-
ticularly if I asked them to do so, which in my early
days I often did the soloists would come to my house to
rehearse, yet this was purely an act of grace on their
part. I soon made a move to get regular rehearsals
established, but this was stoutly opposed by some
members of the choir, one of whom, a man approaching
seventy, told me that when he was appointed he
undertook to obey the laudable customs of the Abbey,
and he did not find that the laudable customs of the
Abbey included any rehearsals ! I am bound to say
that some of the youngest and best musicians felt the
necessity for these rehearsals, although claiming that as
it was extra- work and not included at their appointment
they ought to be paid a fee for attending. As the salaries
at the Abbey were none too large, either in the case of
Lay- Vicars or Organist, I was only too glad to get
the rehearsals established even if the Chapter paid
for them.
It seems that small salaries for the choir were
almost a tradition. I ascertained in some investigations
which I embarked upon later, that almost a century
ago the Lay- Vicars were paid from a fund raised by
charging visitors for admission to certain parts of
the Abbey. The Dean at that time, in response
to public agitation, reduced the charge for admission,
an act which may have been gratifying to the visitors,
LAY-VICARS' SALARIES 75
but which roused the ire of the choir, whose stipends
suffered in like proportion. The money collected
for showing the wax effigies exhibited at the
Abbey also formed a portion of the emoluments
of the Lay- Vicars. Thus it was to their interest to
make the waxworks an attractive feature, and it
is said that the addition of the excellent effigy of
Nelson to the collection was made because the public
rather expected to find the national hero at the Abbey,
and the Lay-Vicars were afraid that the attraction of
St. Paul's would prove a serious loss to them. These
abuses have long since been abolished, and the fees
paid by visitors for being conducted round the royal
tombs, &c., are devoted to the Ornaments Fund,
which is worthily administered. I believe the cost of
the organ-case on the south side of the Choir was
defrayed out of this Fund. At any rate, the salaries
of the Lay- Vicars do not now depend upon curious
sightseers.
It took some time to get the choir into shape at
the rehearsals. There were, for instance, no stands
to hold the books, &c., but by keeping a good temper
I avoided any serious friction, although we had one
or two differences of opinion. One of these arose
from some action I took in the matter of one
of the Lay- Vicars singing Handel's "Comfort ye."
He was an old man approaching seventy, and an
excellent musician, but, as was to be expected, his voice
was of the weakest, in fact that of an old man. Yet he
had sung this anthem for many years, and was reluctant
to give up the " privilege." I represented the case to
the Precentor, saying the singer would not dare to
stand on the concert-platform and sing it, and he ought
not to do so in Westminster Abbey. The Precentor
took the line that so long as the Lay- Vicar was in
the choir he had the right to sing what came to his
76 A WESTMINSTER PILGRIM
turn, and in due course the anthem came round again.
I thought I would try a little diplomacy, and being on
very friendly terms with the old gentleman I ventured
to tell him what I thought. But I had mistaken my
man. He fell into a furious passion, finishing up
by saying that he had " sung it before I was born " ; to
which I replied, " All the more reason you shouldn't
sing it now." The incident was followed by a complaint
by certain members of the choir that I had interfered
in a matter which was entirely in the Precentor's
hands. No doubt this was technically the case, but
such a position should not have been possible. It
will, I think, be conceded that I was not very
well treated over this incident by Dean Stanley, but
it served to bring matters to a head to a certain
extent. Amongst the Chapter were two very good
friends of mine, Canon Prothero and Canon Duckworth,
who did their best to get things put on a better
footing. A note was drafted and sent to me also, I
believe, to the Precentor intimating that I could object
to anything he had put down " if unsuitable to the
members of the Choir on duty, or impossible of
preparation in the time allowed." But Dean Stanley
accompanied this note to me by another of his own,
saying that it was "an error of judgment on my
part, which he was confident would not be repeated " !
This made me very angry, and, I think, justly so, but
my friends of the Chapter soothed my feelings and we
never again had similar trouble. Many members of the
choir held high positions as teachers of singing and
conductors of glee-parties, and indeed were men with
whom it was a pleasure to work. They were, perhaps,
sometimes a little bit inclined to self-complacency,
and one with whom I was very friendly gave me an
opportunity of scoring off him, an incident which
often afforded us laughter in after years. I asked
AN AMPLE CHOIR 77
him about a particular anthem, saying, " Do you sing
so-and-so here " ? " We sing anything," he replied.
" Yes," I said, " and anyhow ! "
The boys of the choir had been well trained, and
were very keen, but they had nothing like the advantages
which the present boys enjoy. There was no Choir-
House until after I became organist. They lived at
their homes in various parts of London, and had to
come to the Abbey before nine o'clock for rehearsal,
ready for the morning service at ten o'clock. They
were given a luncheon, and after the afternoon service
departed again to their homes. Their schooling was
only fair, the school having but one master. They
numbered sixteen, at a later time raised to the present
number of twenty-four, when also an addition of six
assistants was made to the Lay- Vicars, thus bringing
up the choir to twelve men and twenty-four boys for
afternoon and Sunday services. This was a real
advantage, and provided an ample force. The greatest
difficulty in making the music go well was the bad
position of the choir. The Lay- Vicars occupied
stalls not special choir-stalls, but the regular stalls
usually allotted to the congregation. These were very
roomy, and did not conduce to reverence. The boys
were placed in pews immediately below the stalls. But
between the Decani and Cantoris sides there were four,
and sometimes six, rows of ordinary worshippers, many
of them ladies, wearing large hats, and this was the sort
of wall which the boys had to sing against. I need not
say it was a matter of extreme difficulty to make
elaborate music go well under such conditions. With
the organ placed as it was, at a considerable distance
from the choir, the strain upon the organist was very
great. Again, at the period of my appointment the
organ was a very old-fashioned affair, the Great organ
going down an octave lower on the manuals than is the
78 A WESTMINSTER PILGRIM
case with modern organs. This was no doubt done to
facilitate the " drums " in the Dead March ! The
organ had been removed from the central part of the
screen in 1847, but it was not raised as it is now up to
the Triforium. The consequence was that the pipes
spoke straight at the organist, thus making it very
difficult for him to hear the choir. However, 1 made
the best of it. In 1884 the organ was re-built and
brought fully up to date, and my work rendered
much more agreeable. But the choir seats were still
retained in their old and uncomfortable position ; it
was not until after the Coronation of King George V.
in 1911 that, under the auspices of the present Dean,
the choir-stalls were arranged as they now are. It was
an immense gain, for which I had every reason to
thank Bishop Ryle ! In justice to Bishop Gore I
ought to say that when he was Canon of Westminster
he made great efforts to get the choir-stalls re-arranged,
but the opposition of the ordinary seat-holders was too
strong for him. I must also add that I had not the
courage to press the matter so much perhaps as should
have been done.
Another improvement has been made of late which
is a real gain and comfort to the musical staff. For
many years the anthem on Sunday afternoon, instead
of being taken as the Rubric directs " after the third
collect" and before the Sermon, was arranged to be
sung after the sermon ! The consequence was that
very often the boys, and also the men, were inclined to
be sleepy having frequently to sit out a discourse of
great length and naturally their voices suffered. Of
course the reason for the extraordinary arrangement
was because some of the congregation showed a disposi-
tion to go out after the anthem and to forego the sermon.
I do not know when the plan for defeating this bad
habit was adopted, but Turle told me that one of
AGED LAY-VICARS 79
the Lay- Vicars at the time said to the Canon in Residence
that it was "a bit of professional jealousy." The
anthem is now allotted its proper place in the service.
The great evil not only in the Abbey but in Cathedrals
generally has been the absence of any provision for the
retirement of old members of the musical staff. It is
absurd to expect men approaching seventy to retain
their voices in perfect condition, particularly such voices
as the altos and tenors. Basses, perhaps, may do so,
but even in their case the upper notes become feeble.
In the Abbey a man continued to occupy his place in
the choir when hopelessly incapable of singing in tune.
If he retired he did not resign, but was allowed to send
a deputy, who only too frequently was very little better
than the person he was supposed to represent. The age
that some of the Lay-Vicars had attained, and the
positions they occupied in musical circles, made it rather
difficult for me as a young man to correct their render-
ings. In some cases they wished to give their own
readings of solos and recitatives, readings which did not
accord with my judgment. And the sort of independence
which they had enjoyed for many years, along with
the total absence of full rehearsals, was a condition which
they would have liked to continue. Be it said that they
ought not so long to have been allowed to spoil the
services of the Church, as they certainly did. 1 cannot
help recording one very ludicrous occurrence, the
accuracy of which I can vouch for. An old gentleman
was singing in an anthem containing a solo to the words
" He is a Father of the fatherless, and defendeth the
cause of the widows," and trying, I suppose, to put
extra pathos into the words, he caused his upper false-
teeth to descend into his lower jaw ! It took him a
little time to put his mouth right and to proceed.
Another story, told to me by the organist of the Chapel
Royal, which I believe is perfectly true, also bearing on
8o A WESTMINSTER PILGRIM
the ludicrous efforts of these old singers, may be
permitted. The singer was an alto performing a
recitative in one of Purcell's anthems in the Chapel
Royal. The words were, " The ungodly have laid a
snare for me," and I suppose, with his cracked and
comical voice, he somewhat annoyed an old Peer who
sat immediately behind the choir and was rather given
to thinking aloud. When the singer had finished his
sentence, " The ungodly have laid a snare for me," the
old Peer ejaculated, loudly enough to be heard by the
choir, "I wish to heaven they'd caught you ! "
I am glad to be able to say at this point that affairs
at the Abbey have been much better for a long time
past, and arrangements have now been made which
I hope will save my successors some of the troubles
and anxieties which beset my path for many years. It
must not be supposed that I was on bad terms with the
choir or the Precentor such was not the case.
Except for an occasional difference of opinion we
worked well together, and I believe I have always had
the respect and affection of my colleagues. An incident
occurs to me which shows the pleasant relations
established between us. I organized an excursion
to Wendover, in Bucks, for the purpose of playing
a cricket-match between the gentlemen of the choir
and my articled pupils, who by that time were very
numerous. The challenge issued to the choir, and
put up in the music-room, ran as follows :
CRICKET MATCH.
BELLOWS versus DIAPHRAGMS.
The Great and Swell occupants of the Organ Loft invite the
Choir, if they can descend Solo(w), to a friendly Manual and
Pedal Exercise, entitled Cricket. Every Player is requested
to provide a Full Score, and it is hoped many runs will be
executed, though no " great shakes " are expected. All
particulars to be settled at the rehearsal on Tuesday next at a
quarter to Eleven.
P.S. A Ball-proof Cuirass will be provided and a doctor
zv ill attend.
u
8i
It was a delightful afternoon, but as the cricket-pitch
was extremely rough several accidents occurred to the
various players, one of the " Bellows " team getting his
finger badly hurt and a " Diaphragm " sustaining
a severe blow on the nose, which organ bled profusely.
I was very unlucky on this occasion in the way of
scoring. I borrowed a bat called the " demon driver,"
which I had presented to the Choir Cricket Club to
help them in their matches against St. Paul's and the
Chapel Royal,* and which was reputed to be a splendid
run-getter. Being very anxious to make a few runs,
I am obliged to confess that I privately arranged with
the " Diaphragm" bowler (Mr. John Foster), in exchange
for a good cigar (!), to give me a fairly easy ball
to start with, which he undertook to do. I gave a
tremendous swipe with the " demon driver," and the
ball flew high up into the air to the boundary, to
be caught by one of the tenors, who assured me he
"wouldn't have done it, had it been possible to miss
it," so I was out with a duck's egg ! I was very
disappointed, and so was my little daughter, who took
much interest in my batting and shed copious tears at
the tragedy. But it was a pleasant day, and such a
gathering helped us over the stones at future rehearsals.
Having mentioned my articled pupils I may explain
that no regular official assistant at the Abbey was
given to me for some twenty years. I was allowed
of course to have occasional assistance at my own
expense, as in fact the work could not possibly be
carried on by one man. Daily services, daily rehearsals,
and the many extra services which are constantly held
in the Abbey, make a great demand upon the organist's
* I think I ought to mention here the name of a devoted musical amateur,
Mr. Alfred Jackson, who was a real friend of the choristers. It was
at his instigation, and his expense, that these matches were established
and maintained, whereby the boys were provided with some delightful
excursions at a time when such treats were few and far between,
G
82 A WESTMINSTER PILGRIM
time. My articled pupils were very useful. Some
of them have now risen to high rank in the musical
world, and it has been a pleasure to pay them a visit
in their own important posts. Sometimes I was able
to impart a bit of useful advice. I was reminded of
this quite lately by one old pupil. He had a very nice
organistship in a seaside town, and I went down to give
a recital at his church. Walking on the front, I asked
him how he was getting on in his appointment.
He had a curious habit, which I had often noticed,
of grumbling a little even if he admitted he was doing
well, and somewhat to my annoyance he lapsed into
his weakness as we walked and talked; so I resolved
to try and cure him. I had noticed in his study some
nicely illuminated texts which, he told me with much
pride, were done by the lady he hoped shortly to make
his wife. " Do you think," I said, " that the young lady
you spoke of will illuminate a text which I would
like to suggest for your room?" "Oh, yes," said he,
" of course she will, and she will be much honoured."
Well, I said, if she will do this, and if you will read
it every morning, it will do you more good than all the
others. It consists of only two words, "Don't grumble."
He has often said what good it did him, and I have
his permission to tell the story.
In March, 1876, the death of Lady Augusta Stanley
cast a great shadow over the Abbey and its Precincts.
I had never had the pleasure of meeting her, as she was
an invalid at the time of my appointment, but she sent me
a message from her couch one day to say she had heard
me practising the organ in the Abbey, and hoped I would
" help her husband to make the Services glorious." I
know that her influence over the inhabitants of the
Cloisters was a very sweet one, and the loss to the
whole community of the Abbey was in the nature of a
bereavement. There was a very impressive funeral on
PROFESSORIAL APPOINTMENTS 83
March gth, which Queen Victoria attended, when
Lady Augusta was laid to rest in Henry the Seventh's
Chapel.
It was in this year also that I played at two important
weddings that of Prof. Tyndall and also that of
Sir William Harcourt.
My work in the Abbey did not fill in all my time
every day ; nor, must I admit, was the salary of the
Organist at all commensurate with the position and
its duties ! But I was allowed sufficient liberty from
Abbey services to enable me to earn my living, and so
did not complain.
In 1876 I was one of the Professors appointed to the
National Training School of Music. This School was
founded principally by the efforts of H.R.H. Prince
Alfred, afterwards Duke of Edinburgh, and directed
by Sir Arthur Sullivan. Also, at the suggestion of
Sir John Stainer, I was appointed to the Crystal
Palace School of Music, and this proved a great
advantage, as I could go to the Saturday concerts
there very frequently concerts which had an immense
effect upon the rising School of English musicians.
Of the original staff of the National Training School
I think there are only two survivors at the Royal
College Mr. Visetti and myself. Under Sullivan, and
for a short time under Stainer, the National Training
School did good work, and many prominent musicians
of the present day owe much to having obtained
the Scholarships of that institution. It was through
this school also that Mr. Eugene D'Albert was
discovered. I remember his coming perfectly well a
little boy, with powers on the pianoforte that were truly
astonishing. I am sorry to say that of late years he
has done his best to make people believe he owes
nothing of his music to England ; but some of us are
old enough to know better. The National Training
84 A WESTMINSTER PILGRIM
School of course was the forerunner of the Royal
College of Music, which was inaugurated as a Royal
and National institution in the same building in the
year 1883.
The Royal College of Music has been the scene of
my chief teaching. In a later chapter I have more to
say about this institution. It has been my good fortune
to direct the earlier studies of many of our most promising
and clever young musicians, preparing them for the
splendid training in composition which later they had
from Sir Hubert Parry, Sir Charles Stanford, and others.
The enthusiasm of Sir George Grove, the first Director,
is well known, and his delightful personality made it a
pleasure to work for him. As to the second Director
now, alas, as I pen these words, lying in the sleep
of death Sir Hubert Parry, truly none can measure
the scope and utility of the work that he achieved
in the cause of music. With splendid devotion he
dedicated himself to the task that he made his life-
work, the daily drudgery of administering the affairs
of a large school, charging himself with all its minutia.'.
A reward, a guerdon, for the strenuous years was the
deep feeling towards him of loyalty and affection that
he was ever wont to inspire in teachers and students
alike. He died, literally in harness, at the age of
seventy. In his last address to the students, only a
few months before his voice was stilled for ever, he
used these words, that assuredly will live :
^ What all the best of men live for is the service
of the young, and of those that are to come after
that their lives may be better and more profitable
than their own. If a man has lived generously, and
frankly, and kindly, it helps his old age to be genial,
and kindly, and happy. Even if adverse fates have
dealt cruelly with him, he has such compensations as
SIR HUBERT PARRY'S LAST ADDRESS 85
will help him to smile still with the sense that he
cannot be defeated and it does not matter much if
the time is short before him when the good long time
behind him is a constant pleasure and content to look
back to. So when you begin to think about it, it will
be helpful to remember that youth must soon be
gone, and to try to provide for the possibility of old
age, however keen and eager you be ; and that it will
be most worth getting to if your memories are
plentifully worth cherishing, and never bring you
anything but a finest sense of contentment in having
done your best to live a life that was worth recalling
that the fight has been won by the better against
the worser self and that you have contrived to help
the world to be a better place to live in before it is
time to take leave of it."
If any one ever did his best to make English music
and English musicians in every way better than he
found them, that man was Hubert Parry, who never
omitted anything which his kindness and courtesy
prompted him to say to young or old. In the midst of
a mass of correspondence he found time to write to me
from the Royal College of Music a charming letter on
my last birthday the last letter I was ever to receive
from him. (I give this letter in facsimile slightly
reduced on page 87.)
Besides my work as a teacher I may claim to
have done a special service to the Royal College
in having introduced Mr. Watson, the first Registrar,
to Sir George Grove. Mr. Watson, like myself,
hailed from Rochester, and there he first showed his
remarkable powers of organization by bringing the local
Choral Society up to a rare pitch of excellence. He
also did much to establish the Kent Scholarship at the
Royal College. He called upon me in the Cloisters,
86 A WESTMINSTER PILGRIM
saying he thought he could be of use to the College,
so I ventured to recommend him to the notice of
Sir George. Every one knows what splendid work
he did, not only at the College but in connection with
the Associated Board and its important examinations.
Alas! like many in the van of progress he set no limit
to his zeal for work, and died in the flower of his age.
His successor, Mr. Pownall, was once able to render
me a signal service at the Abbey very like that which
dear Hubert Parry had once hastened to fulfil, years
before, at Windsor. Pownall was an excellent baritone,
and came at a minute's notice to the Abbey to sing
the fine solo, " Mighty Lord," in Bach's " Christmas
Oratorio," when our own Abbey bass was attacked by
illness.
The third Registrar, Mr. Claude Aveling,* is the son
of an old Rochester friend who remembered me
as a boy in the choir. I have thus worked with
three Registrars and including Dr. H. P. Allen,
who now administers this great institution three
Directors of the Royal College of Music. May it
always have such devoted men as these to fill such
important offices.
In addition to the time spent upon teaching in
these Colleges, and privately, I found myself able to
contribute to a series of theoretical and educational
works, issued by Messrs. Novello under the joint
editorship of Sir John Stainer and Sir Hubert Parry,
writing on " Counterpoint," and on " Double
Counterpoint and Canon." These subjects appealed
to me, as I had worked at them under Sir John Goss,
and knew how much such text-books were needed.
I also had the advantage of having had access
to the exercises in Counterpoint which Attwood,
* I am indebted to his father for the beautiful picture of the West Front
of Rochester Cathedral that I am able to reproduce in this book.
A BIRTHDAY GREETING 87
, /
4
fitrj.
k **Y~\
88 A WESTMINSTER PILGRIM
formerly organist of St. Paul's Cathedral, had worked
under Mozart's tuition at Vienna in 1775. These
volumes were in Goss's possession (they are now in
my own library), and he constantly turned to them
when I was with him, in order to show how Mozart
treated certain points. I may say in passing that it is
amazing to see the minute care which the great master
took with one who, in my opinion, was a somewhat dull
pupil. On one occasion Attwood wrote in a boyish
hand against his exercise (which he probably left for
Mozart's correction), " Thomas Attwood presents his
compliments to Mr. Mozart, and hopes he will find the
exercise satisfactory, as he has left no possible room for
correction " ! On another example Mozart wrote,
probably as a rejoinder to the above, "You are an ass."
The preparation of the theoretical works above-named
entailed for me considerable research and study; thus
for a time I found no opportunity to do much in the
way of composition.
But in one direction I produced a work which was
fairly original. I devised a system which I called
" Musical Gestures." This was a method of teaching
the rudiments of music by a system of drill. The
pupils stand in a row, and say and do what the teacher
does. I invented signs by hands and arms for the
various notes, sharps, flats, &c. the outcome being
a very amusing and easy way of imparting to children
their first steps in music. The boys at the Abbey
found huge enjoyment in these lessons, and were very
pleased to be photographed for inclusion in the book.
I have also in later years written a small volume on
" Samuel Pepys Lover of Music," being a study of the
diarist from his musical side ; and among other literary
productions have compiled a " Birthday Book " with
a musical quotation from Shakespeare for every day of
the year.
INTERESTING CAXTON RECORD 89
To return to my Abbey work: On June 2nd,
1877, a special service was held in connection
with the Caxton Celebration. This Celebration was
to commemorate the work of Caxton, whose printing
press was set up in the Abbey Precincts. I suggested
Mendelssohn's " Hymn of Praise " as a suitable work
to be performed on the occasion, as it was expressly
written for the Gutenberg Festival held at Leipsic
in 1846, in commemoration of the invention of
typography.
We gave the work with full orchestra, and I contri-
buted a setting of the Canticles for full orchestra and
choir. The sermon was preached by Dean Stanley.
A magnificent exhibition of books bearing upon the
work of Caxton was held at the Albert Hall, but I
believe that inquiries made at Westminster to ascertain
if there were any Caxton records preserved there,
yielded a negative result. The Abbey Muniment Room
was little used or regarded until at a later time
Dr. Scott, of the British Museum, was appointed to
catalogue its wonderful treasures. He one day showed
me an entry in the Prior's Rent Book, which proved
that William Caxton had rented of the Prior three
houses within the Abbey precincts.
It was very unfortunate that the existence of these
records was unknown at the time of the Celebration,
as they would certainly have interested Dean Stanley.
CHAPTER VII.
First visit to Scotland First Salmon A Great Success in the
" Lower L.eat ? ' " Catch " to commemorate a Catastrophe" Sit
down on him " A Pushing Record on the Deveron Caught by
the Tail A Distressing Accident with a Fly The Valley of
Glass Anecdotes of the Minister "I gaed oot at the window"
A Peninsular Warrior The Dominie and the " Examiners."
MY first visit to Scotland was in 1879. I had made
the acquaintance at the Abbey of a very ardent
old Scotsman, who lived on the shores of Holy Loch,
not far from Greenock. An ardent collector of
violins and old line-engravings, his enthusiasm
for violins and for music brought him up to
London every year to attend the Monday Popular
Concerts, when Joachim led the quartet. Besides
attending the Pops, he came to the Abbey regularly,
and pressed me to visit him at his house on the
beautiful shores of the Loch, to which I suppose he had
retired after successful years in business. A few very
happy days were spent with him, doing a bit of
fishing in the Loch, and some sight-seeing, also
playing the harmonium in the Kirk on Sunday.
Leaving him, I went to my friend Mr. (afterwards
Sir William) Houldsworth, of Manchester, who had
acquired a beautiful estate and built a fine house
at Coodham, near Kilmarnock. Here he had a
handsome, well-appointed private chapel, with a good
organ, and retained a permanent organist. A choir
came out every Sunday from Kilmarnock to give two
complete choral services, Mr. Houldsworth himself often
taking the organ. This was the first of a long series
of annual visits that I made almost uninterruptedly up
SOME UNEXPECTED SALMON 91
to the year 1916, when my dear friend passed
away. It was here that my first appearance on a.
grouse moor took place. I had always been fond
of fishing, but had never before had the opportunity
of shooting, and Mr. Houldsworth was kind enough
to let me go on to the moor with a gun. I did not
shoot much, but at any rate inflicted no damage
on sportsmen or beaters, for which I was thankful,
and which I think must be considered rather a
miracle. It was a delightful experience, that created
in me the love for sport which I have followed up
more or less ever since, with, no doubt, much benefit
to my health.
The first salmon I ever saw landed was when
staying at Glen Urquhart, in Inverness-shire. My
wife was a very expert fisherwoman ; she had lived in
this part of Scotland, and had fished in a loch near by
very often. Trout were abundant, but she had never
caught a salmon in this water and did not expect
one. We were out in a boat, and she fished
away and got a few trout. Suddenly she exclaimed,
"That was a fish !" and then explained to me that she-
was certain a salmon had risen to her fly. Sure
enough, after a few more casts she had one on, and in
a short time there was a nice 8-lb. fish in the boat ! We
had no gaff, not expecting a salmon, and had therefore
to use a small landing net, which made the operation
somewhat risky. She continued to cast, and in a short
time hooked another, of about the same size. Later on
she was fortunate enough to hook a third ! This was a
bigger fish, and after one or two efforts to get him into
the net we were so unlucky as to lose him ! The fish
was partly in the net, but the line got fast on some part
of it, and, giving a violent struggle, the fly came away
and he was gone. However, we made a great sensation
when we took our two fish up to the house. The next
92 A WESTMINSTER PILGRIM
day a rare number of boats were out on the loch trying
for salmon, but we heard of no luck, nor did we succeed
in getting another fish.
Having for thirty years spent my summer holidays
in Scotland, fishing (and for twenty years shooting
also), I may perhaps be forgiven for recording a few
incidents which have attended the sport. On the
Spean, a fine river flowing into the Lochy near
Fort William, we had the top beat, and as the
season wore on the big fish pushed up into the top
water. Unfortunately we had to agree to change
beats after a certain date if the tenants of the
beat below desired us to do so. We had
agreed to this when we took the water, as we
paid only about half the amount charged to
the people on the second beat. But it was rather
annoying when the time came to have to " take the
lower beat." In some seasons the tenants did not
exercise their right ; but they did on one particular
occasion that comes to my mind. (The head gillie
was always very keen to get them to do so, as he
attended them and not us ! ) So down we went, and a
very exciting time we had, for it happened that the big
fish had not gone up as the gillie anticipated, and my
wife had wonderful sport, landing no less than five, the
weights of which were as follows : 3O-lb., 26-lb., 24-lb.,
22-lb., and 12-lb.
The sport kept us so late that the head gillie, who
lived near our Lodge, got anxious, \vhether for our
safety or about our luck I do not venture to say, and
just as we had packed up and begun to walk home, he
met us with a lantern. His face, when he saw our fish,
was a real picture : his party had not landed one !
It was on this river that my wife landed a splendid
43-lb. salmon. It was in October, and naturally the
fish was not so good as it would have been some
"WE'VE ONLY GINGER ALE" 93
months earlier, but it was over four feet in length and
twenty-six inches in girth. It was got from the bank,
not from a boat, and took two and a-half hours to land.
We had some delightful days on this fine river, and
many friends came and stayed with us. I used to do a
good deal of composing while my wife fished. She was
never tired ; but I was, I am afraid, not always so keen
as I ought to have been. It requires, however, a deal
of patience to go on, as one sometimes does, for days, if
not weeks, without any luck ! Yet I could always
amuse myself by writing. One of my most successful
part-songs, " Bold Turpin " (Sam Weller's song), was
written by the shores of this river, and I also wrote words
and music of a "Catch" to celebrate a catastrophe that
happened to us. Jack Stainer (a son of Sir John) was
staying with us, and at luncheon I asked him to pass
the whisky flask. Awful to relate, it had been forgotten,
and we had to put up with ginger-ale ! The " Catch "
was the result, the play upon the word " Mill-dam " being
the " Catch." I sent Sir John Stainer a copy, which
amused him very much, his son writing to me : " My
father is singing 'At the Mill-dam ' all day in the garden."
I ought perhaps to explain that the pool called the
Mill-dam Pool was where we used to lunch. The
" Catch " is so contrived that the second syllable of
" Mill-dam " comes after all the others have finished.
"A FISHING IDYLL."
(CATCH.)
(Written at the Mill-dam pool, River Spean, August, 1889.)
Come, let us go a-fishing, with rod and line and fly,
Below us rolls the Spean, above 's Ben Nevis high.
Take sandwiches for luncheon, likewise a prime cigar,
Take whisky, too, and ginger-ale, and naught our mirth shall mar.
We'll happy be, and jolly, without one care or wish,
We'll luncheon at the Mill-dam, when we have caught our fish.
Now, Stainer, hand the luncheon, why look so deuced pale ?
By jove ! the whisky 's left behind we've only ginger-ale !
94
A WESTMINSTER PILGRIM
A i ibrilAG IDYLL.
CATCH FOR FOUR EQUAL VOICES.
Andante.
Fi^l~
J. F. BRIDGE.
.Jjt f
V^
^-p_*-
1 P-?-E:
_^Z^E
33
Come, let us go a - fish - ing with rod and line and fly,
Be -
Take sandwiches for luncheon, like -wise a prime ci -gar,
Take
5^E
IS
*=t
ij~tt=3= jT^Tl*
^jv-d* J HzESiE
-*-* -*-*-. ^ jf 1
We'll hap-py be and joi - ly with - out one care or wish, We'll
Now, Stain - er, hand the lunch-eon, why look sodenced pale, so deuced
=F
- low us rolls the Spe - an, a-bove 's Ben Ne - vis high,
whisky, too, and gin-ger ale, and nought our mirth shall mar,
Be -
luncheon at the Mill - dam. when we have caught our fish, at the
pale?
By Jove! the whis - ky 's left be-hind we've on - ly gin-ger
* *
v-y-
- low us rolls the Spe- an, a - bove'sBenNe - vis high
nought our mirth, nought our mirth . . . shall mar.
P . r ^=H-
*- r ' -^
f-
:*-r*.
Jh
4
Mill -dam,
the Mill - dam, at the Mill - dam,
ale,
=?*=^]
:p*:zzj
gin - ger ale.
n*is.i* -j-o-
gin - ger ale.
the Mill-dam.
-ll
35-^1 -q
'-jT^-
gin-ger ale.
"SIT DOWN ON HIM" 95
The most exciting adventure which I ever had in
connection with fishing was on the Blackwater, a
small river in Ross-shire. We were there for only two
years, as the salmon fishing was very poor. But one
day I went up to the top water, which was very rocky
and had some nice pools. My little daughter (aged ten)
was with me, and I was fishing for trout with a small
trout-rod. I thought I would try a strange fly which
had been given to me. It was a grasshopper, a very
good imitation of the real thing. I made my cast
standing between two very large boulders, being able to
see only a few yards in front of me, but not down
stream. After a cast or two there was a rush and a
whirr of my reel, and I knew it was a salmon ! I played
him very carefully, at last reeling him up quite close
to the spot where I was standing. I had no gafT, and
the net was much too small. There was nothing for it
but to try and pull him up the steep shingle. Stepping
back very slowly, I at last got him on to the shore, but
was afraid to let the line slacken or he would certainly
have slipped in. Suddenly it struck me I might use
my little girl to secure the prize. She was attired in a
long waterproof, which was dripping wet. " Sit down
on him," I sang out to her, and promptly she did so.
I dropped my rod, and secured the fish !
A most successful and exhilarating day's sport which
I remember was one day on the Deveron. It was a
blustery day in October, with rain at intervals. I went
out with a friend, my wife saying she would follow
us down to fish the pools after us, which she did with
amazing success. My friend and I left the first pool
without having had a rise, but as soon as we got to
work in the pool below we heard my wife's well-known
" Coo-ee," and hurried back to find her playing a fish.
This happened eight times. I got only one small fish
of 7$-lb M while the eight my wife caught weighed
96 A WESTMINSTER PILGRIM
24-lb., 20-lb., i8-lb., i;-Ub., ly-lb., i6^-lb., 7^-lb., and
6^-lb., while if the river had not begun to rise I believe
she would have got a dozen. No similar record has
ever been made on the Deveron, so far as I can learn,
and what added to our triumph was to hear afterwards
that the people who fished the water next to us had
gone home because the day was too bad ! But then
salmon are not fair-weather fish.
On the same river I had a narrow escape of a
ducking, if not a worse fate, while gaffing a fish. A
friend and I were fishing a somewhat deep pool with
fairly high banks. I had fished it out without a rise,
and my friend, who followed me down, had nearly done
so with the same result. He said, " I don't believe
there 's a fish in the river Pvegot him ! " A big fish had
taken his fly as he spoke.
My friend had been with us for three weeks, but had
not caught a fish. As he was leaving the next day, we
were naturally anxious for his success. I took the gaff
which was only a small thing, such as one carries about
with him and waited until the fish came near. This
he did very soon, and of course was not at all " done "
or ready for the gaff. However, I knelt down to
make a shot at him as he passed, getting the gaff into
him; but he was so strong I could do nothing with him.
My left arm was round the stump of a tree, my
right arm and leg being in the water. "I'm going
in," I sang out, " but I won't leave go." My friend
dropped his rod, grabbed me round the waist, and pulled
me out, fish and all, on to the bank. It was a big fish
just under 3o-lbs.
The Spean is a somewhat dangerous river, as one has
to wade out to many of the pools, particularly when the
water is low. At such times the fly is not so much
used as the worm, for fish can often be got in the deep
runs with a worm when they will not rise to the fly.
A CURIOUS CAPTURE 97
Lord Abinger, who owned the fishing on the river, said
he always enjoyed worm fishing as he regarded it as a
prolonged strike ! This worm fishing had to be done
with a considerable amount of lead attached to the line
to sink it, and amongst the rocks the sinkers were
continually being lost in fact a friend of mine said
that one day the river would cease to flow and then
the place could be let for a lead mine !
A favourite pool of ours was a very awkward place
called the "crooked pool," where one was compelled
always to be accompanied by the gillie, as the force of
the water was very great.
A sad accident occurred to a visitor one day on this
river. A party, including some ladies, were fishing for
trout over a salmon ladder. One of their number
was standing on a rock, and leaning over to release the
tackle of one of the ladies which had got hung up,
he fell into the salmon ladder and was drowned before
their eyes. I often wonder that more accidents do not
happen in such a rocky and swift river.
It is a wonderful sight to see fish jump up the falls.
In a small stream leading out of our river there was a
really fine fall, and frequently fish would fail in the
jump and tumble back on to the rocks. Sometimes we
could pick up a number of grilse about 5-lbs. to 6-lbs. in
weight lying dead below the falls. But on such
occasions there had been something unusual in the
height of the river.
One of my captures was rather original. Hooking
a fish in a very long pool, he did not show
himself, but kept on swimming up and down, and
I followed, keeping a tight line. My wife kindly
suggested that I had probably got a big eel on !
However, at last the fish appeared to be done, so I
put the strain on him, while the gillie walked into the
water with the gaff, but just as he was about to gaff him
H
98 A WESTMINSTER PILGRIM
he drew back with a curious gesture of astonishment
I yelled at him, thinking I might lose my fish, and
after a bit he gaffed him and pulled him out. The
cause of the man's astonishment was then apparent
The fish was hooked by the tail, so that when [
presented to the gillie what of course should have been
the head, the topsy-turvy capture gave him rather a.
shock ! Salmon often try to jump on the fly in order
to drown it, and this was probably what the fish had.
done, and in the process had fouled the hook
with his tail.
The midges in this valley of the Spean are awful,
and sometimes the only way in which relief can be
obtained is to light a fire on the bank of the river and.
sit in the smoke, until perhaps a friendly puff of wind
blows the pests away. But the wind can be a danger,
and my wife once had what might have been a very
serious accident when fishing in a boisterous gale. A
gust caught the fly when it should have been returning
to the river, and whirled it with great force straight
into her face, where the sharp hook became fixed in
her nostril. I tried to get it out, but found that this was
impossible, as it was well over the barb. There was
nothing for it but to send to Fort William for a
doctor. The accident did not occasion much pain, but
obviously it was very inconvenient. After a time a
very stalwart old Highland doctor appeared. This
was evidently not the first fly he had extracted,
although perhaps he may not have seen another
accident precisely of the same kind. He was very
cheerful, my wife was very brave, and after a little
skilful manipulation the hook was released without very
much distress, and in the result without leaving a scar.
People in the neighbourhood quickly heard of the
accident, and anxious inquiries began to flow in, but
I was glad to be able to say that there was really
A LOST WAGER 99
nothing the matter and my wife had been out
again and landed another fish but not with the
same fly.
A story about my fishing must not be omitted ; it is in
the nature of a confession. I had landed a fish at our
first pool, and my wife and I differed in opinion as to its
weight. Of course I thought it was a remarkably fine
fish, and was prepared to maintain that it scaled a
good deal more than she said it did. We sent it back
to the lodge, but during the day resumed the discussion
as to its weight, and I suggested a wager, which we
agreed upon. It was dark when we reached home.
During the day, with my mind on the wager, I had
furtively concealed about me a few nice round pebbles
and some lead sinkers. As soon as we got home I went
into the larder to bring out the fish to be weighed, but
before doing so carefully filled his mouth with the
contents of my pocket ! In stuffing them in 1 caused my
thumb to bleed on his remarkably big teeth, which
served me right ! He was weighed on the hook of a
common spring - balance, which being thrust into his
mouth caused it to gape rather widely, whereupon my
little son who was very interested in the wager and
hoped I should not win espied the stones and lead, and
called out, " Oh, mother, father 's put some stones and
lead in his mouth." He there and then earned a tap on
the head and I lost my bet !
Some thirteen years ago we moved to a place
higher up the Deveron, and the charming Valley of
Glass has been the scene of my holidays.
It may interest some of my readers if I give a
reproduction of a photograph of my Scotch home. As
will be well understood by those familiar with the ways
of cameras, the picture fails to suggest the fine upland
sweep of the hill behind the house, which rolls away in
great uncultivated tracts of moorland, rising in places
ioo A WESTMINSTER PILGRIM
to a thousand feet above sea level. Here and there are
woods, while sheep and cattle roam at will. The river
is about two hundred yards away.
The fishing is not quite so good as in the lower
reaches of the river, but the scenery is beautiful and we
are in the midst of grouse moors. The Kirk is of
unusual size. I have always enjoyed the simple Presby-
terian service there, with its Psalms and paraphrases and
hymns, and have been able to help to make the singing
more effective by presenting a small Memorial Organ.
I have not, however, undertaken to play except on
special occasions, thinking it best to desert the organ-
stool for a time, and take my seat in a pew. The
place holds many happy recollections for me, in the
earlier years more particularly by the friendship of the
Minister, the Rev. Duncan Ross, now, alas, passed
away. His was a particularly charming personality
broadminded, and in every way the type of a real, good
man. Full of humour and good stories, he delighted
to score off his friends if he possibly could : and he
did score off me most admirably on one occasion. We
heard that the lady organist was ill, so before the service
on Sunday I went to the Manse and asked to see the
Minister. Staying with us was my friend Dr. Keeton,
organist of Peterborough Cathedral, who accompanied
me on my errand. When the Minister appeared, I said,
" We hear your organist is ill, but if you like, Dr. Keeton
and I will play." " It will be all right," I added. He
looked at us with a merry twinkle in his eye, and said,
" Oh ! yes, it will sure to be all right. We're no' very
particular in Glass " !
The hymn-singing in the Kirk is very hearty, and
I have enjoyed playing to this congregation. The
selection is well-varied, generally an item from the old
metrical Psalter, then one of the fine Paraphrases, and
two or three numbers from the modern Hymn and
HYMN-SINGING IN SCOTLAND 101
Tune Book edited some years ago by Sir John
Stainer. The Paraphrases in particular appeal to me,
especially the beautiful one from Job iii., 17-20 :
How still and peaceful is the grave,
Where, life's vain tumults past,
Th' appointed house by Heaven's decree
Receives us all at last.
There servants, masters, small and great
Partake the same repose,
And there in peace the ashes mix
Of those who once were foes.
This is always sung at the Old Madrigal Society's
meetings when a member has died. It is adapted to
music written by Dr. Tye in the i6th century. (This
was originally written to a versified edition of the Acts
of the Apostles.) Another Paraphrase, " O God of
Bethel," was a great favourite of Dean Stanley's.
But I cannot help saying that the congregation really
seem to put greater life into some of the more modern
hymns and tunes, and I am not much in sympathy
with those who would have these removed from our
own or any other Church hymn-book. Scotsmen
of to-day have learned to like these hymns and
tunes, and if you go into a farmer's house you will
frequently see an American organ or a pianoforte with
a hymn-book on it. In the old days, when there
was no instrument in the Kirk and the Precentor
set the tunes, only the most simple melodies were
sung, and always to the old Psalms. As in our own
Communion, the custom of hymn-singing in Church
is greatly valued in Scotland. Yet it is not so very
long ago that the Church of England really neglected
this great help to devotion. Prayers and sermons
are all very well, but uplifting Praise is as good as
either in my opinion.
102 A WESTMINSTER PILGRIM
In connection with this subject I may record that
when I came to the Abbey no hymn found a place in
either morning or afternoon services, even on Sundays !
It was only at the special evening service in the Nave
that they were, to a small extent, admitted. People
seemed to think a hymn-tune was beneath the dignity
of an Abbey service, and I remember Turle saying
to me, when they were introduced, " I thought I was in
a Parish Church ! "
I advocated their introduction, and after a time (with
the sanction of Dean Bradley) edited a Book of
Hymns and Tunes for the Abbey (in conjunction with
Dr. Troutbeck, who was also an ardent advocate of this
innovation in the services). Hymn-singing is now a real
feature in the Abbey services, and for myself I candidly
confess I enjoy playing a good tune to a fine hymn
more than accompanying an anthem.
To return to Glass : the Rev. Duncan Ross once told
me a good story of his early days there. At that time
there was some little illicit whisky-making in the remote,
outlying parts of the parish. One old gamekeeper
was noted for it. His croft was very isolated. The
Minister made it a rule to go round his parish at certain
times, and look up the people. In accordance with this
practice he one day called at the dwelling of the keeper.
It was snowing, and he rode on a pony, closely muffled
up and not easily recognised. He knocked at the door
for a considerable time, and at last a shaggy head
appeared at one of the windows, looking with some
surprise at the visitor. The Minister called out, and,
speedily making himself known, was admitted at
once. While talking together, Mr. Ross noticed a
particular smell, but said nothing. After a while he
was, as usual, invited to take a dram, and some very
strong and newly-distilled mountain dew was tendered
him ! After leaving, he continued his round to call upon
THE ELDER AND THE WHISKY 103
another man, who was not a member of the Parish
Church but was an Elder of the Free Church. He
found the Elder in, and they had a serious talk. The
Elder did not think very well of the religious tone of
the congregation of the Parish Church, and hoped the
young Minister would see to this. As the Minister got
up to go, the Elder pressed him to take something to
keep out the cold, producing some liquor of the same
type as that proffered by the keeper. The Minister
looked at it and then, with a smile, said " I think I know
where you got this." The Elder was a little taken
-aback, and said, looking hard at the parson, " Did he
tell ye ? " Mr. Ross shook his head. " Ah ! " said the
Elder, " an' he didna' tell ye that I gaed oot at the
back window as ye rappit at the door ! Mon, we
thought it was the Gauger."
Not only did Mr. Ross tell good stories himself, but
he had some excellent Scotsmen constantly staying at
the Manse, whom I was really pleased to meet. The
Valley of Glass was the birthplace of the well-known
Greek scholar, Sir William Geddes, late Principal of
the University of Aberdeen. The Geddes family have
been in the valley for many years, and Sir William
began his education in the Parish School. There is,
therefore, a close bond between Glass and the Univer-
sity, and at the Manse I met many of the Professors
and heard many good stories. One bearing upon the
subject of " music " and its use in disease I think I
must relate. I am aware that I cannot tell it as the
Professor told it, but I will do my best.
A poor Highland soldier was ill in hospital at Malta,
and was expected to die. The surgeon asked the sister
on duty how the man was, and was told he could not
possibly recover, but, continued she, " One thing he
asks before he dies, he would like to hear the pipes
again." " Oh," said the surgeon, " I'm going away
104
for the day, but send to the barracks and ask the
Colonel if he will detail a piper to come and give him a
tune." At night, when he returned, he sent for the
sister and asked if the piper had been. " Oh, yes," she
replied, " he has, and he played up and down the
corridor fine." " And how is the poor chap ? " said the
officer. " He 's getting better," was the unexpected
answer. -" What ? " exclaimed the medico, " why, it 's a
miracle ! " " Yes," said the sister, " it is, indeed, but
I'm sorry to tell you all the rest of the patients
are dead ! "
The parish of Glass is in the centre of the Gordon
Country, and has contributed many brave men to the
Gordon Highlanders and other regiments. In the old
burial ground called Wallakirk, a most picturesque and
peaceful spot, among the hills and close to the river,
there is a stone :
In Memory of
JAMES GAULD
Nether Demeath
who died on
the 2yth December 1867
aged 77 years.
On the i gth May 1812 while
serving as a private in the
92nd Gordon Highlanders
He was specially mentioned
for gallant conduct at
the capture of the
fortified post and
pontoon bridge on the
River Tagus at Almaraz
The bridge was cut away
by the enemy and Gauld
swam to the opposite side
brought back the boats and
thus secured the bridge.
Erected by relatives.
THE VISITING EXAMINERS 105
It recalls a brave deed in the Peninsular War by a
soldier named Gauld, one of a family which has lived
long in the Glen. It is a story which I believe is
well-known in military history.
In these days such a deed would doubtless have been
awarded the Victoria Cross, but I believe it was only
when the hero was old that a pension was granted him
through the efforts of a distinguished officer who,
coming as a guest to one of the neighbouring lodges,
happened to hear the local story. During the recent
great war many from Glass have been gathered with the
honoured dead, while the Military Cross and other
decorations are to be seen on the breasts of numerous
sons of the Valley.
The Deveron rises in the hills known as the Cabrach
District, and many a salmon is taken out of the upper
reaches of the river sometimes, it is whispered, not
altogether fairly. In fact, there is a saying that if a
salmon once gets up to the Cabrach it never returns!
The love of sport is of course very widespread, and
to those whose occupation lies in such remote districts
it is a real diversion. A number of stories of devoted
anglers are current, and I may give one as a good
example of the fascination exercised by the river. The
schoolmaster of a very secluded parish in these upper
waters was accustomed to fish with two gentlemen from
a neighbouring town whenever they could spare a day.
He was very expert, knowing all the pools and the best
flies, so that they always made a point of getting his
company and assistance, generally choosing a time
when the school was closed. But on one occasion they
made a mistake, and were much disappointed to hear
from the Dominie that he was tied to the school for
that day. He was sorry, so were they, but after a while
he said : " I think it can be managed if ye'll do as
I tell ye." They hastened to say they would do
io6 A WESTMINSTER PILGRIM
anything in reason, if he could suggest a way. " Weel,"
said he, "Ye maun com' to th' school i' the morn and do
a wee bit examination wark," going on to explain that
Mr. S - was to take the upper classes in Scripture,
and his friend the lower classes in general knowledge.
He added that he would prepare a few questions for
them to put to the children. The two anglers (and
counterfeit Inspectors) agreed, and in due course held
the examination. At the end of it there was a short
and private consultation with the schoolmaster, who
then announced to the boys that the examination
had given great satisfaction to the Inspectors, who,
as was usual in such cases, asked for a holiday for the
school for the rest of the day. The boys took leave of
the genial Inspectors with an ovation of cheering, and
departed to recount to their parents the success of
the examination, while the "Inspectors" and their
companion made the best of their way to the river and
spent a happy day with a different rod from the
pedagogic ferule.
CHAPTER VIII.
A Grouse Drive Deer Stalking Sir George Martin and the
Deer Edward Silas and the " Amorous Goat " - Railway
Incidents Slatin Pasha Debates in the House of Commons
A Nocturne.
OF late years I have enjoyed a good deal of grouse
driving, as there are no less than six moors within easy
reach of my house, and the residents in the various
lodges are very hospitable. Some of them own the
lodges and moors, but other shootings are taken by
sportsmen by the year. In my first year in the Valley
I was invited to a drive by Colonel , who rented
a large moor that year. In the course of the morning
my "butt" turned out to be the top one, involving a
long and steep climb. My gun and cartridges were
carried by the keeper, and in due time we arrived at the
spot rather blown by the steep ascent. The "butt" was
not of the ordinary type, built up with turf, but was
excavated, and really below ground level. I sat down,
so did my man, and carelessly enough I began to talk
to him, forgetting that the birds would probably come
over the hill just above me without warning which sure
enough they did ! All in a moment the air seemed full
of a cloud of birds, densely packed together and moving
with tremendous velocity just over our heads. Of
course they were gone in a moment, and of course
without a shot from me. I looked at Alec (the keeper)
and thought of the Colonel, and what he would say.
" Mind, Alec," I said, "the birds went round the hill."
" Oh, yes, Sir," he said, " they went round the hill, sure
enough." It turned out as I expected. The Colonel
io8 A WESTMINSTER PILGRIM
asked if we did not see a big pack come over the hill-
top, and we said, " Certainly, and they went round the
hill." I was really afraid to tell the whole truth ! Just
recently I have made a clean breast of it to the Colonel,
and think he forgave me.
Another incident will, I fear, give the impression of my
not being a keen sportsman, but accidents will happen.
I was staying with a friend who rented a large moor,
and was accompanied in my " butt " by a young and
charming lady. I am afraid we chatted a good deal,
and my bag was not what it ought to have been.
There was another lady in the next " butt," who chaffed
me unmercifully concerning my bag, and made the
most of the fact that she had both " seen and heard " us
talking. I was asked to write " something " in my
companion's book that evening, as she was leaving the
next day, so I scribbled the following :
Out shooting one day, the astute Mrs. Palmer
Espied in my grouse butt a sweet little charmer ;
I shot very badly she thus did deride,
" One Miss in a butt causes many outside ! "
The last grouse story I shall venture upon was not
my own experience but that of a friend. He was at a
drive when the host at starting gave the usual direction,
" No grey hens, please." The birds came very thick at
one drive, and my friend unfortunately dropped a grey
hen ! In the next " butt " the sportsman was accom-
panied by his wife, who was a very alert and expeditious
retriever, sallying out directly the drive was over and
picking up all the birds she could (whether shot by her
husband or anyone else !) to add to his bag. My friend
was very artful, and took some time to unload his gun,
and look for his birds. This gave the lady-retriever a
good start, when she did what my friend wanted her to
do took the grey hen and added the prize to her
husband's birds. At lunch time, when the birds were
DEER-STALKING 109
put out on the heather and counted, the host exclaimed,
" Hullo ! who the deuce shot the grey hen ? " After a
moment the unfortunate owner of the retriever shyly
said, " I am afraid I was the culprit " ! The host said
nothing, nor did my friend !
I have never done any deer-stalking, but had one
little experience of the royal sport when staying near
Killarney. My host was a great sportsman, and got
many fine deer on the Muckross estate. He was kind
enough to let me accompany him one day, and we (my
host, the stalker, and myself) had a big climb up one
of the mountains, at last arriving at a point where
we lay down while the stalker took a look through his
glass. He spotted a stag a little below us and within
shot. Needless to say we had to keep very quiet and
motionless, but much whispering took place between
the stalker and my host as to the number of points the
beast showed. It was a time of considerable anxiety
to me, for I had a cold and felt an irresistible desire to
sneeze ! I knew what that would probably mean the
alarm of the quarry and some bad words from my
host. I controlled myself as long as possible, till at
last, as the sneeze would come, I seized my nose, buried
my head in the heather, and gave a sort of bark. The
effect on my host and the stalker was electrical. They
both jumped up in horror, looking behind them, and
fell down again as quickly, the stalker saying, " Dashed
if I didn't think it was a hind." I whispered my most
humble apologies, and am bound to say they were
most tolerant of my accident. After a few minutes the
stalker peeped over the knoll on which we were lying
and found the stag still there ! I was much relieved,
and am very glad to say the sportsman got him soon
after. I think my bark was a really good imitation of
a hind. At any rate it took in both my friends and
the stag !
no A WESTMINSTER PILGRIM
Another little episode in connection with deer took
place when I was out shooting with a friend near Spean
Bridge. Among the guests was the late Sir George
Martin, of St. Paul's, who was a keen sportsman and a
good shot. We were walking in line over the heather,
shooting grouse, hares, &c., and of course not thinking
of deer. I was at one end of the line and Sir George
at the other, when suddenly there was a commotion
and I saw a fine stag going up the hillside for all he
was worth. He stopped for a moment to look at us,
and then disappeared. The beast had evidently been
asleep in the heather and we had disturbed him.
It was not a deer forest, and no doubt he was
travelling from LochiePs forest of Achnacarry to
Lord Abinger's. I remember saying to Sir George
that it was not likely that the organists of St. Paul's
and Westminster had ever walked in line after game
until that day.
Martin's host was a devoted amateur musician,
and played the English concertina admirably. He
constantly had old Edward Silas to stay with him,
Silas composing many charming duets for pianoforte
and concertina. Very pleasant were the evenings we
spent at this lodge after our sport, and besides the
really serious music old Silas was usually prevailed
upon to give us an illustration of a farmyard. His
imitations of the various animals, including what he
called an " Amorous goat," were side-splitting. Poo r
Silas hardly dared to come out on the heather, as the
midges always took a great fancy to him. He used an
anti-midge powder that perhaps was not efficient ; but
certainly it was effective, in its way, for it made his
forehead look rather like the crust of a well-sugared tart !
Railway travelling has played its part as an accessory
in my pilgrimage. Many and frequent have been some
of my journeys, yet often have they been enlivened by
"HE'S NOT AT ST. PAUL'S" in
incidents that arose by the way. One such, bearing
upon my reputation as a fisherman, which befell me
during a short journey, may perhaps be recounted.
Another man was in the carriage, and, as we smoked
our cigars, we got into conversation. I had noticed the
large increase of nursery gardens in the district through
which we were passing, and said how the development
evidenced the great impetus that had taken place in
the love for gardening. My fellow-traveller agreed,
remarking that he had taken it up a good deal
himself, so as rather to give up his pursuit of fishing.
I owned to liking it very much, and added that I had a
garden in Scotland, where also near by I did some
fishing.
"What river are you on?" "The Deveron, 1 ' I
replied. " Oh ! " said he, "I know the Deveron well.
Whereabouts are you?" "Well," I said, "We are
now above Huntly, but used to be near Rothiemay."
" Near Rothiemay ? You mean Cornie Haugh ? I
know it well." Then, after a pause, he continued,
" I'll tell you who used to have that." (I listened
with interest.) " That old music chap at St. Paul's.
He 's dead now" " No, he isn't," I retorted, " he 's here,
and he 's not at St. Paul's, he 's at Westminster." The
effect on my companion cannot be described. He
started up with the exclamation, " What a fool I am
of course I meant you, but only think what a fool
I was to talk like that," and so on, and so on.
I told this story to Sir Charles Swinfen Eady (now
Master of the Rolls) when travelling the same route
with him a short time afterwards, and he seldom meets
me at the Senate of the University of London without
a reference to " that old music chap at St. Paul's."
Another railway story not this time to do with
fishing may be given as a warning. Soon after my
marriage in 1914, my wife and I were invited to a
ii2 A WESTMINSTER PILGRIM
delightful day on a splendid liner which took a large
party from Southampton down the Solent. There was
a special train from Waterloo, and we had as fellow-
occupants of our carriage an old gentleman and his
wife. We were all presented with a book containing
the names of the numerous guests, and were studying
the lists with some interest. Suddenly the lady said to
her husband, " Oh, I see Sir Frederick Bridge and
his young wife are here. I should so like to meet them."
Now, what was to be done ? There we were with our
unknown fellow-guests, shut up for upwards of an hour.
What else might be said about us ? Was I to run the
risk of hearing things which might make it rather
trying for us and our companions ? So I turned at
once to the lady, and said, " That is not very difficult,
for / am Sir Frederick Bridge." The astonishment of
the lady was great. " But you are not Sir Frederick,"
she said. " Oh, yes, I am," I replied, " and this is my
' young wife '." It turned out that the lady knew many
of my wife's people, and we spent much time on board
together, with many a pleasant joke about the scene in
the railway carriage. We have been close and intimate
friends ever since.
As I write, the news of the Armistice (November nth,
1918) prompts a story of deeper interest. The incident
occurred while travelling with a friend from Aberdeen
to Edinburgh. There was no dining-car on the train,
and when the luncheon hour arrived, the attendant
adjusted in our compartment one of the temporary
tables carried for such occasions, and designed for four.
Presently two gentlemen joined us. It was not very
long before we discovered that one was none other
than Slatin Pasha, who, it will be remembered, was
captured and kept in slavery by the Mahdists.
He was rescued from this miserable condition
in 1884, and later was appointed British Inspector
THE AUTHOR'S SCOTCH HOME.
CAIRNBORRCHV LODGE, GLASS, ABERDEEN-SHIRK.
FHREE EX-ORGANISTS OF MANCHESTER CATHEDRAL.
SLATIN PASHA 113
of the Soudan. The other traveller, his companion,
was a very distinguished English officer. We soon got
upon very friendly terms (I had given Slatin Pasha a
tonic from my whisky flask, as he complained of a fearful
cold), and on passing the Forth Bridge we discussed
the recent Naval manoeuvres. If I remember, these
had included a supposed attack of an enemy fleet from
the North. All apparently went well for the defence,
and the enemy was driven off. But report said that
one of his submarines managed to get into the Firth of
Forth, and in mimic warfare torpedoed some of our
battleships. Such was the story current ; and it was
added that the Admiralty had kept the matter quiet
but were rather disturbed about it.
The incident made a great impression on me. I do
not remember that Slatin Pasha said much ; but having
in mind that when war broke out the name of this
Austrian-born officer along with those of other enemy
aliens was removed from the lists of British Orders
of Knighthood, one wonders whether he may not have
been consoled by remembering that he had a bit of
useful and very significant information which even the
gods could not take from him.
Among my greatest pleasures that frequently
afforded real relief from the anxieties of Abbey work,
have been my opportunities for attending the debates
in the House of Commons. From boyhood I
have taken a great interest in politics and in
current events. Indeed I remember now with some
sorrow the many hours spent during the American
Civil War in particular in reading the daily papers.
There was a certain quiet little reading-room up a
little alley in the streets of Rochester, in which the
chief daily papers could be seen. This old room was a
delightfully quaint place, close under the wall of the
Deanery garden. The hours I spent there, instead of
ii4 A WESTMINSTER PILGRIM
practising the piano . . . ! Yet it was not all wasted
time. I read, and learned, and if I had practised the
piano more diligently instead of reading the daily papers,
possibly I should not have done quite as well in the
world as ultimately I succeeded in doing. But it must
not be supposed that this is a general advocacy of such
a curriculum. A cultivated interest in passing events,
however, made me value the occasions when later I
came to hear the great men in the counsels of the
Nation.
Fortunately for me, the senior chorister at the Abbey
when I took office was the son of one of the officials in
the House of Commons, whose post it was to sit in the
big chair in the Lobby, at the actual entrance to the
Chamber, to see, I suppose, that only Members were
admitted. I used to send in my card from the outer
Lobby, and was generally passed in to my friend
the door-keeper. Almost without exception he was
able to get me admitted into the Strangers' Gallery,
from whence one looked down upon many interesting
scenes, and heard those masters of debate, Parnell,
Gladstone, Disraeli, Goschen, Sir William Harcourt,
and others. I was in the House on the last night that
Disraeli was present.
Altogether these were interesting experiences for
which I am very grateful to the friend whose kindness
made them possible. By-the-by, admission to the
House of Commons debates is also a traditional privilege
of the boys of Westminster School, a privilege which, I
believe, they have at all times valued and turned to
good account.
I have enjoyed the friendship of many generations of
the boys of the famous Westminster School. Among
those who were in the School when I went to the
Abbey was the present Dean of Christ Church, Dr.
T. B. Strong. He was very musical, and I gave him
A NOCTURNE 115
organ lessons. Another was Mr. H. Bertram Cox,
C.B., now solicitor to the Board of Inland Revenue.
He also was musical, and these two were constantly
in the organ-loft. When they went up to Oxford
they corresponded with me very frequently, and were
particularly kind and sympathetic at a time of great
domestic sorrow. Curiously enough, both were able to
suggest to me subjects for musical treatment, which I
adopted for Festival works. Dr. Strong's prompting
was the dramatic episode of " Callirhoe," told by
Pausanius, and Mr. Cox directed my attention to
Gladstone's Latin version of Toplady's " Rock of
Ages." Both works were produced at Birmingham.
I have gladly welcomed the boys to the organ-loft,
and always found in them good specimens of
the English public school boy. As such they
sometimes played pranks in their own domain, and
one habit, which I fancy is still carried on, though
not very frequently, was to climb out of their
dormitory window and over my house for a midnight
prowl on the School roof, and even on to the Abbey.
There was no particular harm in it, but on one occasion
it alarmed my servants, so, along with a friend who
was sitting and smoking a late pipe with me, we
mounted on to the roof of the School just in time to
see some distant figures descending a ladder on to the
roof of a lower building. It was after midnight, and
dark. We could not see the boys below, but could
hear them whispering. My friend went and fetched a
bucket of water, and after a bit we managed to empty
it over the runaways ! This made a great commotion,
and at that moment the window of the Precentor
opened, and he demanded to know what the boys were
about. " Talking to Dr. Bridge," was the ready reply
from below. This astonished him, and he called to me
to ask what / was about ! I explained as well as I
n6 A WESTMINSTER PILGRIM
could, and he shut the window. The truants then
came up the ladder, when the older boys (there were
five or six) in response to a request for their names at
once complied, but asked me to let the younger ones off.
" Of course," I said, " I shall have to report this."
They went back over the roofs to their dormitory, and
we went to bed. The next day two of them called to
say the Master wished them to apologise for the
trouble they had given me. " But," I said, "how does
he know ? I have lodged no complaint, and did not in
fact intend to report you ! " " Oh ! no, Sir," said one,
" it was Flood Jones who boxed us " (Flood Jones was
the Precentor). It seemed that he had gone and called
up the Master while the boys were talking to me, and
when the poor miscreants climbed through their dormi-
tory window, the Master welcomed them below ! I
was told that not long afterwards the episode was set
as a subject for Latin epigrams.
CHAPTER IX.
Lord Tennyson's " The Goose " Presentation of the Musicians'
Company's Medal to H.R.H. The Prince of Wales (Edward
VII.) Bach's "Christmas Oratorio" Music-makings at the
Worcester Festival Festival Compositions Grieg and Dvorak
at the Birmingham Festival Visit to Gounod, at Paris
Processional effect in Notre Dame.
A VERY interesting experience which came to me in
my early years at the Abbey was the opportunity of
meeting Lord Tennyson. As already mentioned,
when living at Windsor I had made a musical
setting of " Christmas Bells," a poem from " In
Memoriam," and this being sung in the Abbey at
Christmas-time had attracted the attention of a friend
of Lord Tennyson, Mr. Baillie-Hamilton. He had also
heard privately a performance of a setting of mine of
Tennyson's humorous poem, "The Goose." Through
Mr. Baillie-Hamilton's introduction, I got to know the
Hon. Hallam Tennyson, and it was decided that the two
settings should be performed at an evening party at the
house of Lord Tennyson in Eaton Square. I took a
portion of the Abbey choir with me, and we sang these
two compositions before a large company. "The Goose,"
with its humorous words, and, I think, fairly humorous
music, seemed to please the audience very much.
Indeed, I know it gave satisfaction to the Poet in one
point. There is a verse in the poem describing the old
owner of the goose getting prosperous with the results
of her poultry-keeping, and the lines run :
And feeding high and living soft
Grew plump and able-bodied,
Until the grave churchwarden doffed,
The parson smirked and nodded.
n8 A WESTMINSTER PILGRIM
This is set in a mock sentimental way, and it produced
considerable merriment, the Poet saying in my hearing,
evidently with some satisfaction, " That 's the poem the
critics said showed I had no sense of humour." It
seemed to me that he had for the first time been quite
easy in his mind on this subject. Another observation
which I must record also came from the Poet in
connection with this song. Mr. Frederick Locker, who
was one of the guests, and himself a poet of no mean
order, congratulated me before Tennyson on the way
in which I had set the words, saying : " I hope that
your name will go down to posterity associated with
the poem and its author." " In fact," added Tennyson,
" the current of my poetry will be Bridged. 11
I was proud to have my name thus whimsically
punned upon by the Poet- Laureate.
In 1878 I became a member of the ancient City
Guild, the Worshipful Company of Musicians,
at the same time as Sir John Stainer and
John Hullah. There was not much life in the old
Company in those days, and it really did not do
anything for music. But I was able to proffer a few
suggestions which perhaps helped to start it on its
present great and beneficent career of service to
Music and musicians. I became Master of the
Company in 1892, and had the honour of
presenting the Gold Medal of the Company to
H.R.H. The Prince of Wales (afterwards King
Edward VII.), as a humble recognition of his services
in the cause of Music, notably in the establishment
of the Royal College.
The interesting ceremony of presentation took place
at Marlborough House, when His Royal Highness
received the Worshipful Master of the Company
(myself), the Junior Warden (Sir John Stainer), Mr.
Alfred H. Littleton, Mr. Otto Goldschmidt, and other
MUSICIANS' COMPANY'S MEDAL ug
Members of the Court. The Clerk read the following
Resolution, which had been unanimously adopted at a
meeting of the Court:
" That the Worshipful Company of Musicians, in
order to express its deep appreciation of the untiring
interest shown by His Royal Highness the Prince
of Wales in the progress of the art of music in
this country, which has resulted in the successful
foundation of the Royal College of Music with its
liberal endowments in aid of promising talent,
respectfully begs His Royal Highness to accept the
Gold Medal struck by the Company for the purpose
of encouraging music and musicians. The Company
cannot but feel that should His Royal Highness
graciously become the first recipient of their offering
he would not only confer an honour on them, but
would give a prestige and value to their Medal which
will greatly enhance its value to future holders."
His Royal Highness in reply said that he wished to
return his " thanks for the kind words of the Resolution,
and for the gift of the very handsome Medal." He
went on to express his best wishes for the spread and
development of musical education and the art of music
in this country, and added that he was very much
gratified by the recognition which his efforts had
received at the hands of the ancient and interesting
Company of Musicians-.
The Medal, designed by Mr. C. B. Birch, A.R.A.,
bears on its face a representation of St. Cecilia, the
patron saint of music, and on the reverse the motto
"Harmony," with the arms of the Company.
I was also one of a deputation of the Court in 1905
to present the Honorary Freedom of the Company to
H.R.H. Prince Christian, in recognition of his services to
Music as Chairman of the Council of the Royal College.
120 A WESTMINSTER PILGRIM
The Company is to-day most active in its furtherance
of everything for the good of the Art, founding many
scholarships and awarding medals to the principal
London Musical Colleges and to the Naval and Military
schools of music. It also offered a valuable prize for
the composition of a March in honour of the Coronation
of King Edward, which was won by Mr. Percy Godfrey,
and has instituted many other prizes too numerous
to mention. The March was performed at the
Coronation under my direction, and a sum of ^866
derived from the sale of copies was subsequently
contributed to King Edward's Hospital Fund.
Perhaps the most notable step in encouraging native
composers was taken by Mr. W. W. Cobbett, a member
of the Company, in 1905, when he organized what
proved to be the first of a series of competitions that
have been the means of adding to English chamber
music many works of undoubted charm and merit. As
the outcome of a letter that he addressed to the Master
of the Company, a committee was formed, and a
circular issued inviting short works in that most difficult
of all forms, the string quartet. It is interesting to
recall that this circular marked the first appearance in
the world of music of the word " Phantasy " the
modern analogue of the old English " Fancy." The
response to these competitions has been highly
encouraging.
An energetic member of the Company who lent
valuable assistance in the allocation of its awards and
scholarships was the late T. Lea Southgate. For
much devoted work in the cause of music his name
deserves to be remembered by the members with honour.
Canon Duckworth was the honorary chaplain to the
Company, and has been succeeded in this office by the
Ven. Archdeacon Pearce, Litt. D., Canon of West-
minster, now Bishop of Worcester.
A FINE ANTHEM OF WESLEY'S 121
In January, 1879, we gave a performance at
the Abbey of Bach's " Christmas Oratorio." The
Consecration of Dr. Lightfoot as Bishop of Durham,
and the funerals of Lord Lawrence and of Sir
Rowland Hill took place this year.
In 1880 we again performed Bach's " Christmas
Oratorio," and " Elijah." For the latter occasion I
ought to say the expenses of the band were paid by
the Dean out of his own pocket. In 1881 occurred
the death of Dean Stanley. From previous pages it
will have been seen that I was not always happy in my
dealings with the Dean concerning choir matters,
yet would not wish it to be inferred that anything
was lacking in my appreciation of his great personality.
He had a burning desire to make the Abbey loved and
used by the people. But his abounding zeal seemed to
lose its vitality when death removed the sweet influence
of his wife, Lady Augusta I have already said
what her departure was to the whole body of those
living in the Cloisters. We had a great funeral service
for the Dean, who was laid to rest by the side of his
wife in Henry VII. 's Chapel, the Prince of Wales and
Prince Christian being present.
The picture that I refer to in my remarks upon the
Purcell Celebration (see page 159) was given to me as a
memento of the Dean.
Dean Bradley was Dean Stanley's successor, being
installed on November ist of the same year.
Another notable event in 1881 was the funeral of
George Edmund Street, the architect, for which
ceremony I was able to suggest a very appropriate
anthem, which at that time was but little known.
This anthem was written by Dr. Wesley on the death
of the Prince Consort, an event of which I retained
a perfect recollection. It commenced, " All go to
one place," and the penultimate verse is particularly
122 A WESTMINSTER PILGRIM
appropriate to an architect : " For we know that if our
earthly house were dissolved, we have a building of God;
a house not made with hands, eternal in the heavens."
In 1 88 1 I began to attend some of the great Musical
Festivals, going to Worcester as the guest of the
Dean, Lord Alwyne Compton ; also undertaking the
onerous task of writing an account of the proceedings
for the Press, a tiresome and fatiguing duty which I
never tried to do again. But it was a very pleasant
time. One of my fellow guests was Dr. Stone, a well-
known amateur who played the contra-fagotto* at the
Festival, and we made a good deal of music at the
Deanery. Dr. Stone's instrument was an enormous
affair (Santley once told him that it resembled the
stand-pipe at Chelsea Waterworks!). We arranged a
duet for contra-fagotto and piano, the theme being that of
the well-known round, " Three blind mice." Stone played
the tune at an incredible depth, and my part was to
demonstrate the scamperings of the mice. The com-
position had a great success. It was never printed,
nor do I think there is any record of its performance in
the annals of the Festival.
I was asked to contribute a work to the succeeding
Worcester Festival (in 1884), and set " The Song of
St. Francis of Assisi," the English translation by
my old friend Mrs. Oliphant. I have already spoken
of this poem in reference to my life at Windsor.
The following year (1885) I was gratified at
finding a place in the Birmingham Festival. For
this meeting I set Mr. Gladstone's Latin translation
of Toplady's hymn, " Rock of Ages." Afterwards
we performed it at the Abbey, Mr. Gladstone himself
being present. He wrote me a very kind and
appreciative letter, and was good enough to allow
* This instrument is used by Haydn in his oratorio " The Creation " to
imitate the " cheerful roaring of the tawny lion."
V f
DVORAK'S "ST. LUDMILLA" 123
me to dedicate my work to him, saying he " cordially
wished it success."
It was at the Birmingham Festival that I met both
Grieg and Dvorak. Grieg was rather a terror to the
orchestra at the London rehearsals. Extremely
fastidious, and demanding the most minute attention to
the nuances in his music, he kept the band hard at it for
a very long time, when he had finished appearing a
complete wreck from his exertions. He was a very
fragile-looking man, and died rather prematurely.
Dvorak was a man of different build ; also he had
much natural simplicity. I remember a remark he made
which serves to sustain this impression. During the
Festival week a large party was entertained at
luncheon at the house of Mr. G. Hope Johnstone,
who was a member of the Festival Committee.
It came on to rain rather heavily, at which most
of us were inclined to be sorry. But Dvorak turned
animatedly to Mr. Alfred Littleton who sat between
Dvorak and myself and made a remark in German,
which I did not understand, but which seemed to
amuse Mr. Littleton very much. I asked him later
what it was, when it appeared the composer expressed
his delight at seeing the rain, saying it would be
good for the potatoes in his garden at home. Next
day I travelled up to London with Dvorak. He
was somewhat disappointed with the reception of his
work, and I did my best to cheer him up. But it
was a difficult task, for, to tell the truth, the work was
a failure. It was his oratorio " St. Ludmilla," in which
the composer made the mistake of writing music that
he thought would appeal to English folk, rather than
giving rein to his own genius as he had done in his
noble " Stabat Mater." "St. Ludmilla" was a copy,
to a great extent, of Handel's style, and did not
reflect the real genius of Dvorak.
i2 4 A WESTMINSTER PILGRIM
On April 27th, 1882, the funeral of Charles Darwin
took place in the Abbey. It seemed to me the ordinary
funeral anthems were hardly appropriate to Darwin,
so I ventured to suggest the words which I afterwards
set to music (Proverbs iii., 13, 15, 16, 17), " Happy is
the man that findeth wisdom, and the man that getteth
understanding. She is more precious than rubies, and
all the things thou canst desire are not to be compared
unto her. Length of days is in her right hand, and in
her left hand riches and honour. Her ways are ways
of pleasantness, and all her paths are peace." This
anthem was beautifully sung by the choir, and
Canon Prothero called to congratulate me on its
success immediately after the service.
In this year my predecessor died, in the eighty-first
year of his age. He had been appointed to the joint
offices of Organist and Master of the Choristers as
successor to Mr. Greatorex, F.R.S., on September ist,
1831, by Dean Ireland, thus having held his
appointment for over fifty years. Turle was a most
amiable man, and although his contributions to Church
music were not extensive, in one domain he may be
said to be supreme, that of the number and beauty
of his chants.
In 1883 we gave a performance in the Abbey
of Gounod's " Redemption," in aid of Westminster
Hospital. In connection with this event I called on
the composer in Paris a month or two before it was
announced to take place, who proved very gracious, but
seemed somewhat anxious as to whether it was possible
to give an adequate performance of his work at
Westminster. I answered that I thought it was, and
told him of the effects which we hoped to get with
the trumpets and harps placed in the Triforium. He
was very pleased, and sent me a box for the Opera,
which my wife and I found great pleasure in accepting.
GUILMANT AT THE ABBEY 125
During my stay in Paris I was a witness of the
impressive funeral cortege of Gambetta. The playing
of Chopin's Funeral March by one of the bands in the
procession (I think it was the band of the Republican
Guard) was truly superb. At some of the Colonne
concerts, also, I was particularly struck by the brass
of the orchestra ; it seemed to me superior to anything
I had heard in England. But probably one would
not be able to say the same to-day.
At Notre Dame I was fortunate in being present at
a very effective service. It was doubtless an echo of
the Christmas services, and the hymn " Adeste fideles "
was sung in procession round the Cathedral, the last
verse being sung in the Sacrarium. The effect of the
procession wending its way in the columned distances,
with the organ at the West end coming in between
the verses, was indeed beautiful. We have been able
to turn this experience to account in the Abbey, when
on great Festivals we sing some well-known hymns
in procession, the choir and clergy traversing the
Ambulatory and returning through the Choir into the
Sacrarium. As a rule our singing in procession is
unaccompanied, but between the verses we bring in
the organ with, I hope, some of the effects heard
long ago in Notre Dame. (Reference is made to an
important use of such processional music when
describing the events of the Coronations.)
I did not on this visit make the acquaintance of any
notable organists, but it has given me very great satis-
faction from time to time to welcome prominent
exponents of French organistic art in the Cloisters.
One of the best of these, and a charming man, was
Felix Alexandre Guilmant (1837-1911). He enjoyed
playing on the Abbey organ one evening when
I took him in for a private performance and showed
his admirable powers of extemporisation.
126 A WESTMINSTER PILGRIM
The Consecration of Canon Barry as Primate of
Australia, of Bishop Boyd Carpenter as Bishop of
Ripon, and the installation of the Rev. F. B. Westcott,
as Canon, all took place in 1883. Also this year there
was solemnised the wedding of the Hon. Hallam
Tennyson and Miss A. Boyle, and memorial services for
H.R.H. The Duke of Albany and for Henry Fawcett
were held.
In 1884 the organ was rebuilt and enlarged. I have
already explained that the instrument was very old-
fashioned and inadequate when I came to the Abbey.
During my time it has been improved and rebuilt
at various intervals, being now a very complete
instrument. Without much trouble I got a good many
friends to contribute stops, &c., and in 1895 we were
able to add a very beautiful electric organ. This is
placed in the Triforium, just above Handel's monument,
and has a charming effect. It was the gift of a friend,
Mr. A. D. Clarke, in memory of his wife. I have always
been careful to preserve any of the old pipes which were
in good order, and we actually possess two beautiful
(wooden) stops that were added to the organ by
Father Smith in the year 1694. The bill for inserting
these, and two other stops (now unfortunately not to be
found), is still in existence in the Muniment Room.
These additions were made under the direction of
the Precentor and Henry Purcell, the organist.
Unfortunately the old Choir organ-case was removed
in 1847. It is now in Shoreham Church, Kent, of
which one of the Canons was rector, and so was
able to obtain and utilise this beautiful example of
ecclesiastical carpentry. It is in my opinion the very
case which stood on the North side of the Abbey in
Purcell's day, and upon it can still be seen the
names of various organists of the Abbey. I had hoped
at one time it might be restored to its place ; but this
"MORS ET VITA" 127
has not been possible. Its retention at Shoreham,
however, robs the Abbey of a really interesting relic.
The Abbey organ is now blown by an electric motor,
but when I entered on my duties there were three old
men who blew. They were much disturbed because I
played voluntaries on week-days ! I do not think my
predecessor played " in " very often on week-days, and
he only played a few chords "out." I, however,
played voluntaries of decent length, at which the
three blowers grumbled much, actually getting a
complaint to the ears of Dean Stanley. They were
artful, representing that I kept sightseers waiting
who wanted to see the Royal tombs. These
three men were guides, and professed they were very
anxious to get to their other duties as soon as possible.
Dean Stanley spoke to me about it, when I ventured to
remark: " Some people like to hear the organ as well
as to see the tombs." He did not lay down any rule,
but asked me not to make the voluntaries " too long."
Fortunately the lazy blowers no longer harass the
organist.
In 1885 we had a commemoration service in aid of
the Royal Society of Musicians, other events of
importance this year being memorial services for General
Gordon and for General Grant. My old friend Maas
sang in the choir in the service for General Gordon,
his solo being " Be thou faithful unto death."
Among funeral services in 1886 may be mentioned
that for Archbishop Trench, formerly Dean of West-
minster, and the service for W. E. Forster, a statesman
who imparted so much impetus to elementary education
andwhose later opposition to Gladstone I well remember.
On Ascension Day in the same year we performed
" Mors et Vita " and my own " Rock of Ages " with
full orchestra.
CHAPTER X.
Queen Victoria's Jubilee An Expensive Fanfare An Awesome
Serpent Fenian Alarm: a "Black Bag" in the Organ-Loft
Queen Victoria at the Jubilee Festival The National Anthem
in the Abbey Lockhart's Jubilee Picture A "Devoted Friend"
at the Auction A Distinguished " Man-Servant."
IN 1887 we began the year with a service for the
unveiling of a Memorial Tablet to Henry Fawcett.
The music was supplied by the students at the
Royal Normal School for the Blind. I was, however,
absent on an errand which was the beginning of
a very anxious time. This was the year of H.M.
Queen Victoria's Jubilee, and preparations were
already being made for the due celebration of this
event, to be held in the Abbey on June 2ist. I had
taken time by the forelock, and set some appropriate
words as an anthem which possibly might be used on
this occasion. H.M. The Queen had of course the
selection of the music, and Canon Prothero suggested to
Her Majesty that I should attend with some of the
choir at Osborne, to let her hear my anthem. The
date selected for our visit was unfortunately the day of
the unveiling of Professor Fawcett's Memorial. I took
a few boys down to Osborne, and three of the Lay-
Vicars. It was rather curious that one of them,
Mr. Montem Smith, had as a boy sung at the funeral
of William IV. Besides the choral performance of my
anthem before the Queen, one of the boys sang a solo
from Gounod's " Redemption," and Mr. Hilton sang
" Nazareth." I was presented to Her Majesty after
the performance. She was very gracious, and signified
her pleasure in the interpretations.
COSTLY REHEARSALS 129
A few days afterwards a letter came from
Canon Duckworth, in which he said : " Sir Henry
Ponsonby told me last night that you may certainly
consider that you have the Queen's permission to
inscribe your Jubilee anthem to her. The Queen spoke
to me of you and your party, and seems to have enjoyed
your visit. She praised your anthem, and expressed
her approval of Crook's singing." Crook was one
of the boys, and a beautiful singer. It is sad to have
to record that only a few years later he developed
consumption, and died.
The preparations for the momentous event of the
Jubilee, that has now passed into history, demanded a
great deal of thought and care. A large choir had
to be organized, and arrangements made for a band
of brass and timpani to supplement the organ. There
was also the editing of the music, which included by
Her Majesty's Command a setting of the Te Deum by
the late Prince Consort. The fabric and precincts of the
Abbey were given over to the Office of Works for some
weeks, the preparations being almost as elaborate as
those for the Coronations of a later date. A feature
of the ceremony was the reception of Her Majesty by
a fanfare of trumpets played from the organ-loft. I
found a fine collection of military trumpets, belonging,
I suppose, to the Lord Chamberlain's department,
which were lent to me to be played by the trumpeters
from some of the military bands. An amusing episode
took place when we were having a preliminary rehearsal
of this fanfare in the Abbey. The carpenters engaged
in putting up the stagings were much interested,
and apparently inclined to take it a bit easy while the
music was going on. The Clerk of the Works came
to me, good-humouredly remonstrating against the
continual practising : " My men simply can't work while
that is going on, and it means five pounds a minute " !
K
130 A WESTMINSTER PILGRIM
Now trumpeting at such a costly figure, even at Jubilee
time, becomes a luxury indeed, so we curtailed our
rehearsals.
The complete book of the music was published by
Metzler & Co. The Te Deum by the Prince Consort
was their copyright, and although my anthem was
published by Messrs. Novello, it was also included in
the complete book issued by Metzlers. I was greatly
indebted to their manager, Mr. J. Coward, a son of the
celebrated Crystal Palace organist, for much valuable
help and advice in bringing out the book and arranging
for the band. One day he came to me and said
that he wished that I would do him a favour.
"Certainly," I said, "if it is possible." "Well," he
replied, " Mr. Arthur Chappell [the well known
originator and director of the Monday " Pops "] is one
of our directors, and he wants to know if I can arrange
with you to get him admitted to the Jubilee Service."
" Oh," I said, " that's impossible; yet if he could sing
or play in the band, I might manage it." Coward
thought a moment, and then said, " Leave it to me, I
think I can arrange it," and he proceeded to play a sad
trick upon Mr. Arthur Chappell to which I may at
once say I was not a party.
In a show-case at Metzlers', among examples of
military instruments was a remarkable-looking specimen
of the bass trombone (see Illus.), but instead of the
tube expanding into a bell end, it was fashioned into
the grinning head of a python. The large convoluted
instrument known as the serpent was at one time in
regular use in the orchestra, even in Handel's day, and
it is said that when he first heard it in this country
he remarked, slyly, "Dat vos nod der serpent dat did
Eve beguile." The serpent had a wooden tube of oval
section, some eight feet long. The Metzler relic was
serpentine only as regards the head, which was an
A SERPENTINE HORROR 131
enormous affair with red jaws and white fangs
altogether an awesome reptile and it was this thing
Coward got down into the office, ready for Mr. Chappell.*
That gentleman duly appeared, and of course inquired
of Coward, "Have you seen Bridge? What did he say?"
"Oh," said Coward, "he's very sorry, but it can't
be done." Chappell was much disappointed. " But,"
added Coward, " there 's one way, and it 's quite easy "
proceeding to explain that I would be glad of a
few low notes from the bass trombone in my anthem,
and that he, Coward, could make quite an easy part
for Mr. Chappell, who would then be admitted as a
member of the band, and see the show ! Chappell
looked with undisguised dismay at the serpentine
horror, and ejaculated, "That be hanged!" "Well,"
said Coward, " It 's your only way, and although it 's an
awkward-looking thing to carry through the Abbey, yet
once in the orchestra you will be all right." Chappell
hesitated a moment, then, bracing himself, and to
Coward's almost hysterical delight, he said, " Give me
the mouthpiece, I'll have a try." He blew a fearful
note, the effect of which on Coward, and on all the clerks,
who were in the secret, cannot be described. I was
obliged to put Chappell in the choir after this, where
he did no harm, which he certainly might have done had
he taken the instrument with him into the orchestra.
There were very many details to be considered,
nothing being left to chance. For instance, I was
anxious to find out what was the pitch of Archbishop
Benson's voice. The Archbishop was to read the
prayers at the service. Although, so far as I knew,
he did not intend to intone, yet he had a musical voice,
and I was anxious if possible to fit in with his note the
* I believe that grotesque instruments of this class were sometimes
useu at country fairs, the performer playing a fantasia outside a booth by
way of attraction for sightseers to step inside and see and perhaps hear
worse horrors,
132 A WESTMINSTER PILGRIM
Responses and Amens. He was kind enough to invite
me over to Lambeth, where he read certain prayers,
which enabled me to arrange the matter satisfactorily.
An incident in connection with the preparations
for the great service must not be omitted. In this
year (1887), just before the Jubilee, a good deal of
alarm was prevalent in consequence of the Fenian
outrages, and the rather frequent discovery here and
there of clockwork bombs in black bags, &c. Long
previous to the ceremony the Abbey was closed to the
public, anxious precaution being taken by the officials
to ensure the Royal safety. By special order
the choir platform was frequently examined, and
the organ-loft with every remote corner of the Abbey
subjected to minute inspection. The day before the
service a rehearsal of the band was called, after
which I remained in the organ-loft looking over
some music for the next day. A young pupil standing
near startled me by calling attention to a strange noise :
Listen, Doctor," he said, " don't you hear a ticking ? "
"Ticking! Where?" Leaping from my seat, I
listened intently, and sure enough I heard a faint,
rhythmic "tic- toe," proceeding apparently from a corner
of the loft. Peering into the shadow I saw, fateful
sight I ... a little black bag !
Instead of waiting to be blown to pieces for my
country, I left the loft well, somewhat quickly and
hastened into the Cloisters, where I met an old man
who had charge of the blowing-engine of the organ.
" Groves," I said, " go up into the organ-loft, and
bring down a little black bag that you will find in
the corner." " Yes, Sir," he replied, and ambled off
unsuspectingly. Then I waited. I do not know
what I expected, or what I intended to do when
it had been brought to me, but I breathed again
when Groves reappeared safe and sound with the
THE LITTLE BLACK BAG 133
bag. On examination it was found to contain
an alarm-clock, ticking away very merrily. I
discovered upon inquiry that one of the band had
bought the clock on the way to the rehearsal, but
how his bag had escaped detection and had run the
gauntlet of the fifty policemen who were guarding
the Abbey and looking out for ticking clocks in black
bags, I never quite knew, except that the bandsmen
mostly carried their instruments in bags, and so were
not closely examined. Groves' destiny after all was
to die safely in bed, and when, a short time ago,
I sent a wreath to his funeral, I thought of the
episode of the bag, for to the day of his death he
used to say, " You very nearly got me blowed to pieces
that time, Sir."
In arranging the musical portion of the Jubilee
service I had to communicate very frequently with
the Lord Chamberlain's Department, of which Sir
Spencer Ponsonby Fane was then Controller. Sir
Spencer was extremely amiable, and it was a delight
to work with him. He presented me with a list of
the various entries of great people for whom Marches
had to be played, and arranged an elaborate series
of flag signals from the west-end of the Abbey to the
organ-loft, to let me know who was arriving. It was
a complicated affair, but we managed to fit it all in
pretty accurately. The final March was to be played
as the Queen walked up the Choir to her appointed
seat. I shall never forget how dignified and
stately was Her Majesty's bearing at that particular
moment. The usual choir seats had been removed,
but the carved stalls remained, these being
occupied by dignitaries who attended from all parts
of the Empire, notably by many of the Indian Princes.
Her Majesty, looking right and left as she advanced,
seemed to me to honour each one by a special bow.
134 A WESTMINSTER PILGRIM
It was a curious thing that the National Anthem
was not down to be performed on that great occasion
except for the inclusion of the first part of it in the
anthem I had composed. The whole programme
had come to us from a Royal source, and I had
no prerogative to modify the scheme. It may be
said in passing that there seemed for many years to
be a shyness, if I may use the term, in singing the
National Anthem in Church, and particularly did
this seem to apply to the Abbey. Of late years,
especially since the recent terrible war, this diffidence
has happily disappeared, and at the time of writing
I am playing the National Anthem daily at the close
of the afternoon service.
June 2 ist, 1887, was a gloriously beautiful day, and
as such is surely still enshrined in the memories of
thousands glorious from its associations, beautiful
because a perfect day of an English summer. For us
at the Abbey all went well, the glorious interior
looking magnificent as the distinguished gathering
thronged the tiers of improvised galleries, and,
assembled from every corner of the earth, our race
proclaimed its great day of festival and exultation.*
A day or two after the event I was invited to the garden
party at Buckingham Palace, when, as Her Majesty
passed with her suite through the crowd, I was accosted
unexpectedly by the Lord Chamberlain and presented
to the Queen, who was very kind, saying : " The
music was most successful, every one was extremely
pleased." A few days later I received the Jubilee Medal,
and also the following letter from Sir Ponsonby Fane :
" DEAR DR. BRIDGE, I must write you a line to say
how splendidly your music went yesterday. I shall
* It may be of interest to state that three generations of my family took
part in the music: My father sang tenor in the choir, my son joined the
trebles, and I played the organ and conducted.
A DEVOTED FRIEND 135
always have a most pleasant recollection of our
communications and collaborations on this interesting
ceremony, which thank Heaven, has been so successful.
" Yours very truly,
" S. PONSONBY FANE."
Dean Bradley also wrote to me in the following kind
terms :
" DEAR DR. BRIDGE, Please to allow me to express
to you on paper my grateful sense of all you have done
to secure the success of both our Jubilee Services.*
The task of bringing together such a choir was in
itself no light one, and I and all others are, I am sure,
deeply grateful to you both for the successful completion
of that task and for all else that you have done.
" My words are few, but they come, I assure you,
from my heart.
" Most truly yours,
"G. BRADLEY."
I was honoured by being included in the Jubilee
picture painted by Lockhart. My portrait was a
somewhat tiny affair, and he put me standing at the
organ-desk. After Lockhart's death many of the sketches
he made for the picture were sold at Christie's, my
portrait being among them. Hearing it was to be sold,
I decided to try and buy it, and gave a commission to a
dealer, " if it was not too expensive." The dealer
bought it for me, but it cost rather more than I thought
it was worth. A few days afterwards, a member of the
Abbey voluntary choir (by profession he was a lawyer)
said to me, " Oh ! do you know your picture was sold
at Christie's the other day ? " " Yes," I replied.
* The Jubilee programme was repeated in the Abbey on June stzud.
admission to the performance being by ticket. The proceeds were
devoted to the London hospitals. Madame Nordica sang on this occasion
the year of her London debut at Covent Garden, which took place on
March 12.
136 A WESTMINSTER PILGRIM
" Well," he said, " I nearly bought it." " Why did you
not ? " I inquired. " Oh ! well," said my friend, " it
went for more than I was inclined to give, but I made
the other chap pay for it, and ran it up well " ! He had
been bidding against the man who was bidding for me !
His devotion cost me some pounds.
Besides the Abbey Jubilee Service, a very important
celebration of the event took place in St. Margaret's
Church, and was attended by the House of Commons.
Archdeacon Farrar was the Rector, and at his request I
undertook to see to the music ; also I set a special hymn,
written by Bishop Boyd Carpenter for the occasion. A
very amusing incident took place in connection with this
service, which may be worth recording. Tickets were
difficult to get, and a very distinguished medical man who
had attended my wife in a critical illness, came to me to
beg that I would procure one for him. I told him it was
quite out of my power to do so. But he was not to be
denied : " I have done you a service," he said, " and
you must do me a good turn ! Can't you take me in
with you ? " Then a thought struck me I might get
him to carry a bag containing the robes which I
had to wear ! He was quite willing, so we went
together. The janitor let me pass, of course, when,
turning, I called sharply to " my man," " Hurry up
with that bag" which he did ! When he got well inside
he promptly dropped the bag, and afterwards I saw
nothing of him until dining with him that evening.
Frequently did we recall the ruse, and always did we
find its humour irresistible.
This was not the only service at which I officiated at
St. Margaret's. Archdeacon Farrar was also a Canon of
the Abbey, while as Rector of the Commons' Church
he was always willing to give facilities for musical
celebrations at St. Margaret's, in which I was glad
to help him in any way, for he was a kind and cordial
JOHN FARMER AT ST. MARGARET'S 137
friend. On one occasion he got me to help with the
boys in a performance of John Farmer's Cantata,
" Christ and His Soldiers." He had known Farmer
at Harrow, and had a great admiration for him.
Farmer came and conducted his work, which, although
it cannot be called a great masterpiece, seemed to
give him intense pleasure. He got very excited, and
perspired immensely with his exertions. I had the
pleasant sensation of having assisted in a very strenuous
undertaking.
The Archdeacon was a great preacher, whom we
missed very much when he left to become Dean of
Canterbury. Whilst he was at Canterbury I used
frequently to go down at his invitation to help in
special services that he organized in the Cathedral.
CHAPTER XI.
The Browning Memorial Service and Mrs. Oliphant The
Madrigal Society The Gresham Professorship Funeral of
Lord Tennyson The Marquess of Lome's Hymn Princess
Beatrice's Bazaar Book The Jenny Lind Memorial Death of
Canon Prothero Musicians' Company's Exhibition Dr. Pearce
. and the Common C(h)ord.
IN March, 1888, we had a commemoration service for
the Emperor William I., of Germany, and in June of
the same year a commemoration service for his son, the
Emperor Frederick III. Also this year there was
celebrated the Jubilee of the Coronation of Queen
Victoria, which was observed at the Abbey by the
performance of Berlioz's Te Deum, sung by the Bach
Choir and conducted by Sir Charles Stanford, with
myself at the organ.
The following year, 1889, brought the memorial
service to John Bright ; also the inauguration of the
Church House, for which I composed "The God of
Heaven, He will prosper us ; therefore we His servants
will arise and build, &c."
On Ascension Day in this year there was a per-
formance of Mendelssohn's " Elijah," in aid of the
funds of Westminster Hospital. The announcement
had been made, and we were in the midst of rehearsals,
when I was gratified at receiving an entirely unexpected
letter from the daughter of Mendelssohn, asking me to
send her some particulars of the forthcoming event.
It was with extreme pleasure that I responded to
this request, and the incident was the beginning of a
MADAME BENECKE AT THE ABBEY 139
long friendship. Madame Benecke frequently visited
the Abbey, on one occasion giving me a copy of
the drawing of her distinguished father (hitherto
unpublished), made by the painter Begas in 1821,
which is reproduced in these pages. It is a gift which
I greatly value. Appended is the letter above referred
to, that formed the beginning of so much pleasant
intercourse :
" Norfolk Lodge, Barnet,
" May 2nd.
" DEAR SIR, I see a notice in the Musical Times
that you are thinking of having ' Elijah ' in Westminster
Abbey on the 3Oth inst. May I trouble you to tell me
at what time it would be sung, and how we could get
to hear it well ? Forgive my troubling you, but I do
not like to lose a chance of hearing ' Elijah,' and I
have never yet heard it at Westminster.
" Believe me,
" Yours sincerely,
" MARIE BENECKE
(" nee MENDKLSSOHN-BARTHOLDY ").
In December, 1889, came the funeral of Robert
Browning, a great and impressive service, attended
by many distinguished people. I was asked to set
some words of Mrs. Browning's, to be sung at the
graveside, the verse suggested being, "What would
we give to our beloved." Referring to the choice of
these words, Mrs. Oliphant wrote from Windsor: "I
think it a most beautiful thought, and one which
Browning would have entirely appreciated, to lay him
in his grave to the sound of his wife's beautiful words."
Afterwards some very kind letters were written to
me by members of the Browning family.
I was introduced to Robert Browning in my early
days at the Abbey, by Dean Stanley, who, in presenting
140 A WESTMINSTER PILGRIM
me to Browning, delivered the characteristic remark,
" Poetry arid Music should know each other." Many
years later I met the poet at Arthur Coleridge's
hospitable table, and ventured to refer to his comments
on Fugue in his stanzas on " Master Hugues of Saxe-
Gotha." He seemed pleased that I found interest in
the subject, saying that he did know something
about Fugue. I was not sure whether in his poem
" A Toccata of Galuppi's," in the verse-
While you sat and played Toccatas stately
at the clavichord ?
Browning intended to convey the idea that it was one
of his own Toccatas Galuppi played. So far as I can
learn there is no Toccata by this composer, for when
we celebrated the centenary of Browning's birth I tried
to find a Toccata of Galuppi's to play on that occasion,
and failed. I spoke to Sir Hubert Parry about it, who
said there was no work of that kind that he knew of.
He however recommended a beautiful Adagio and
Allegro Spiritoso from a Clavier Sonata for Viola da
Gamba, which I procured and played at the service in
the Abbey, on May 7, 1912, in honour of him whose
life-work it had been to add to our English poetry so
much of noble utterance and unfading beauty.
In 1890 we had a Festival for the Royal Society
of Musicians, which service included my short
Oratorio, " Mount Moriah." In this year was also
celebrated the first Latin Commemoration Service of
Westminster School, an interesting function which is
now held every year.
Before continuing my Abbey record I may now
glance at a few doings outside the Precincts.
Some of the most interesting and pleasant music-
makings which I can recall are those of the old
Madrigal Society. This is the oldest musical society
in the world. It was founded in 1741, its first meetings
THE OLD MADRIGAL SOCIETY 141
being held at the " Twelve Bells " in Bride Lane, and
later at the " Anchor and Crown " in Whitefriars.
According to Sir John Hawkins, who was himself a
member, most of the members were mechanics and
Spitalfields weavers, while others followed various trades
and occupations. He records, too, that many of the
members were very expert in music, and able to sing at
sight almost anything in the English and Italian
Madrigal School. When I joined the Society in 1877
the meetings were held at the " Freemasons' Tavern "
in Great Queen Street, from October to July. I met
many delightful musicians at these gatherings, amongst
them old G. A. Osborne. He and I used to sit
together when we could, until, in 1878, they made me
assistant-conductor. He was very congenial, and a
real, witty Irishman. I am afraid that sometimes
we behaved rather badly in one respect at the
Society's meetings. There was a great objection
on the part of the authorities to any speech-
making. Osborne delighted in delivering a little speech,
and more than once I encouraged him to ask
questions perhaps more or less relevant to the
particular madrigal being sung. The secretary,
Edward Street, a delightful amateur musician and
true lover of madrigals, always looked rather shocked,
but amused ; the treasurer, Kellow J. Pye, one of
the real old-fashioned type of serious musicians,
looked really shocked. After this had occurred once
or twice they refused to allow us to sit together,
which was very disappointing to me and also to
Osborne. However, I made up for my bad behaviour
later on by undertaking the conductorship, a post which
is still in my hands. It is somewhat chastening to find
myself the oldest member of the Society.
I had a real affection for Osborne, as I believe
he had for me and sweet indeed is the savour of his
142 A WESTMINSTER PILGRIM
memory. He often attended the meetings of the
Musical Association, frequently rising to break a
lance with the lecturer of the evening. But he was
ever a genial adversary. Occasionally he would con-
tribute a paper to the Society's " Proceedings," notably
in vols. v. and vi., in 1879 and 1880 respectively, when
he wrote upon Berlioz and Chopin, subjects that he
was well qualified to speak upon, as he had been very
intimate with these composers.
Osborne had met many distinguished musicians.
Himself a capital host, he found keen delight in
social amenities. A relaxation in which he frequently
indulged was in playing duets with Dr. T. Lea
Southgate, who was an intimate friend. Osborne had
been a very popular pianoforte teacher, and he com-
posed a good deal of light pianoforte music. His
" La Pluie des Perles" had a wonderful success. He
once told me that this little piece had brought him
in over six thousand pounds. It gave him great pleasure
when we performed an anthem of his at the Abbey, which
he produced rather late in life. It was very melodious,
though lacking some of the characteristics that are
wont to be looked for in devotional music. Osborne was
a great friend of old John Ella. There is a story the
truth of which I can vouch for that when Ella, stricken in
years and blind, and able to say with Job " I am a
burden to myself," stood sorely in need of comfort,
Osborne would frequently devote a Sunday to visiting his
friend, whom he would solace by reading from the Bible.
The most notable event in connection with the
Madrigal Society was the hundred and fiftieth
Anniversary Festival, held in 1890, when amongst
other things we performed Tallis's celebrated Motet,
composed for eight choirs of five voices, i.e., forty
parts. This same Motet had been sung over fifty
years before at a Festival held in 1836.
AN AWKWARD LEAD 143
In 1904 I was elected president, and in 1914 the
members presented me with the gold medal of the
Society in recognition of my long years of service.
This old Society has always helped to keep alive
the love of madrigal singing. The Children of the
Chapel Royal have for many years taken part in
its meetings, sometimes assisted by boys from
well-known church choirs to sing the soprano part.
Arthur Sullivan when a boy in the Chapel Royal
attended these meetings, Thomas Helmore, master of
the Children, being a very prominent member. There
are in the old soprano copies some amusing pencil notes
Sullivan made at that time. In 1899 he was elected
president, and laughed very much when his attention
was called to these youthful essays. The performances
are of course occasionally rough, but the members
assemble essentially for singing and not for rehearsing.
The Society is assisted by several professional singers,
so things go fairly well, though occasionally a little
slip will be made by one of the aged members. I
remember a case that was really rather trying at the
moment. We had an old member who had contributed
very handsomely to the Prize Fund, which the Society
administers at stated intervals. I must explain that
many of the books used at the meetings have madrigals
at one end and anthems at the other, and it is possible
to get hold of the wrong end of the book, and try to
sing an anthem when a madrigal is on. This indeed
seems to have happened on the occasion that I have in
mind. We were singing one of the "Oriana" set,
which generally conclude with the words :
Then sang the shepherds and nymphs of Diana,
Long live fair Oriana,
in this particular madrigal there being a silent bar
before the chorus came in. At the critical moment the
144
old gentleman to whom I have referred led off in
stentorian tones a part of an anthem beginning
O Lord !
This nearly upset the nymphs and shepherds, but we
were afraid to make much of the incident in case there
should be no more money for the Prizes.
The Society's meetings are quaint old functions,
the key-note for each madrigal being blown by the
conductor on a somewhat wheezy pitch-pipe. It is
recorded of one of the conductors who preceded me
that he blew the note so badly, beginning softly and
crescendoing into a different note and back again, that
when he stated " That's A," one of the members called
out, " Which end of it ? "
The programmes always contain a selection of the
celebrated "Oriana" Madrigals, which were composed
by the leading musicians of England in honour of
Queen Elizabeth and published in 1601. It may be
unknown to many people that a similar compliment was
paid to Queen Victoria when, in 1899, Sir Walter
Parratt originated the idea that took shape in a book
of " Choral Songs and Madrigals." Sir Walter did me
the honour of asking me to set the following charming
words written by the Marquess of Crewe :
For all the wonder of thy regal day,
Golden content, and Freedom that can dare
To covet not nor shun a grander sway,
And knowledge soaring to a loftier air,
We bend to Thee that Thou hast been
Of sea and land illustrious Queen.
But rather for the mind that can rejoice
With all our joy, and strive as we have striven,
Ripe human counsel, and the nearer voice
Of comfort to the lowly mourner given
We cling to this, that thou hast been
In heart and home our Mother Queen.
A CURIOUS BASS TROMBONE.
LlTTLIXGTOX To\VKR
ix 1840
CAPTAIN COOKE'S SIGNATURE,
SCRATCHED ox AX ABBEY WINDOW.
MADRIGALIAN RECITALS 145
I also took a very active interest in another body,
known as the Western Madrigal Society. Founded
in 1840, at No. 27, Soho Square, its first meeting
was held shortly afterwards, under the presidency
of Joseph Calkin, while I had the honour of
conducting these madrigalists from 1878 to 1896, the
meetings then being held in Lisle Street, Leicester
Square, at the rooms of the Royal Society of
Musicians. A delightfully quaint atmosphere seemed
to linger in this quiet retreat, the old-world charm of
the madrigals performed finding harmonious setting
in the surroundings. We gathered there literally under
the eyes of bygone worthies in the realm of music
Purcell and Handel, among others and the drama,
whose portraits gazed solemnly from heavy frames,
and, I fear, through much varnish and faded paint,
at the group of moderns seeking to capture the spirit
of the melodies of long ago. A distinguished portrait
among the many hanging there is a very fine one
by Gainsborough, of King George III., who presented
it to the Royal Society of Musicians.
The Court of Assistants administering the splendid
charity of the Royal Society of Musicians have for
many years held their meetings in these rooms. The
story of their unostentatious beneficence has never
been told, yet doubtless it has brought light and cheer
into many a straitened home.
The procedure of the Western Madrigal Society
assimilated closely to that of the " old " Society upon
which it was modelled. But the younger Society
dispensed with the dinner that is so much a feature of
the meetings of the old Madrigal Society probably
with advantage, because it is questionable whether a
generous menu is the best preparation for artistic
voice-production. The Western Society preserved,
however, a tradition of its own, which was observed at
L
146 A WESTMINSTER PILGRIM
the interval in the programme. The chief upholder of
this tradition was Mr. Stephen Olding (a popular
member and a charming man), who combined with his
knowledge of madrigals an expert gift for compounding
punch. He never failed to attend without bringing
with him a couple of bottles of his special brew,
which the members and visitors consumed with great
satisfaction. The beverage was really very good, and
sometimes the effect on the voices of the singers
especially the altos was remarkable. In the second
part of the programme, should an amorous number
occur, they would skip through it with delightful
nimbleness. I can still see two of these old gentle-
men their combined ages numbered a hundred and
sixty years ! with hardly a quaverous note to mark
their years, valiantly voicing " I saw lovely Phyllis."
The incident is not without a certain pathetic humour.
Perhaps the compounder of the punch had studied the
"Anatomy of Melancholy," and added philters to
his recipe.
To speak of punch recalls another medium of the same
name, but a different order of volatility I refer to the
London Charivari. The distinguished artist, Charles
Keene, so long associated with Punch, was a very
interested member of this Society and a regular attendant
at its meetings. He was a silent man ; in fact I do
not remember ever hearing his voice in the madrigals,
but he seemed thoroughly to enjoy the functions.
Alas ! very few of my old friends of those days
of long ago now survive. Very reluctantly I had to
relinquish the direction of this Society, as I found that
my accumulation of conductorships was making undue
demands upon my energies. There are limits even to
the ecstasy of swaying a baton.
In 1890 the Gresham Professorship of Music fell
vacant. It is one of seven Professorships founded by
GRESHAM LECTURER 147
Sir Thomas Gresham in 1575, Dr. Bull having been
the first musical professor. I had never done a great
deal in the way of lecturing, but was not wholly
without experience, having at various times contributed
lectures both in Manchester and in London. I deter-
mined to send in my name to the Grand Gresham
Committee, a body formed jointly of the Corporation of
London and the Mercers' Company. One of the regu-
lations laid down by the Committee was that a select
number of the applicants should lecture at the College
before the Committee and general public. In the
result, I was one of six selected. I took a great deal
of trouble with my paper, both in preparation of
matter and in delivery, but must confess that I felt
really nervous when my turn came to lecture. Later
I was summoned to Mercers' Hall, to interview the
Committee, being elected, I believe, almost unani-
mously. The most dangerous of my opponents was a
German ! In the course of my duties I have delivered
something like three hundred and fifty lectures, up
to the time of writing. They are free to the public,
and are illustrated by vocal and instrumental music.
Gresham College has recently been rebuilt, and a
very excellent hall to hold five hundred people
provided for lectures. The audiences are large and
interested, and certainly my Professorship has been
to me a source of great interest and information.
My hearers sometimes appreciate a little humour. I
remember an occasion on which I was able to score
off a member of the public. I had gone past my
allotted time (one hour), and apologised for so
doing. " Go on, Sir," said a voice from the gallery,
"it's raining outside." This raised a laugh, so
I paused a moment, before saying, " The remark
reminds me that at one of the lectures given here,
a long time ago, only two persons attended, and
i 4 8 A WESTMINSTER PILGRIM
they, it is said, only entered because it was ' wet
outside.' Doubtless they stayed to find it rather dry
inside."
The funeral of Lord Tennyson, in 1892, was of
course a very important event, the ceremony being
attended by many great personages. The Hon. Hallam
Tennyson asked me to set " Crossing the Bar," to be
sung at this service, and I was naturally very anxious
to set the words to worthy music. The poem was
one of the last things Tennyson wrote. As everyone
knows, its nobility of utterance had made a profound
impression. To set it for such an occasion and
perhaps find that lovers of the words did not think
much of the music, would have been very mortifying.
There was no time to lose, as the work had to be
composed, printed, and rehearsed in the space of a
few days. However, I got to work one morning and
completed the first sketch. Just as this was done I
received a call from a friend of the deceased Laureate,
who was anxious to know how it was getting on. He
seemed surprised that I had done so much, and
begged me to let him hear it. Now this was hardly
fair. We know that artists do not like to let a sitter
see their first sketch for a portrait, and I felt it
might not be wise to let the music be heard till I
had given it due revision. However, my visitor was
very persuasive, so sitting down I played and sang
it to him as well as I could. As soon as it was
finished he jumped up, and striking his hands together
said, " You've made a great success of it." This
encouraged me a great deal. Resuming my work with
renewed zeal, the setting was completed without delay.
I have the original sketch by me, and may be permitted
to state, with some little pride, that there were but very
minute changes necessary in what had come to me in
my first attempt.
AN UNEXPECTED REQUEST 149
In April, 1894, I received an unexpected request from
Scotland, to make a hymn-setting of some verses by the
Marquess of Lome, to be included in a special book
that was being compiled on behalf of H.R.H. Princess
Beatrice in connection with a bazaar she was organizing
at Balmoral. The subjoined letter, from the editor
of the book, explains the object and purposes of her
Royal Highness very fully:
" Craig Gowan,
"Balmoral, N.B.,
11 April nth, 1894.
"SiR, H.R.H. Princess Beatrice has authorised me
to edit a Bazaar Book for the Bazaar which her Royal
Highness is to hold here this Autumn. To this book
the Marquess of Lome has sent some verses which,
if set to music, would make a very appropriate hymn
for the dedication of the new Church. I therefore
venture to ask you whether you would kindly undertake
to compose the music the same for publication in
the Bazaar Book ? Should you entertain this proposal,
I shall send you a copy of the verses.
" Believe me to be,
" Yours very faithfully,
"R. A. PROFEIT."
It was with pleasure that I undertook this task.
The hymn and tune are now printed as No. 401 in the
" Westminster Abbey Hymn Book."
Early in the same year also an influential committee
was assembled, under the presidency of H.R.H. Princess
Christian, for the purpose of setting up in the Abbey a
memorial to the great name of Jenny Lind (Madame
Lind-Goldschmidt). The memorial took the form of
a medallion, and was unveiled on April 25th by
150
Princess Christian, in the presence of a distinguished
company. A few days afterwards Her Royal Highness
caused the following letter to be sent to me :
"8, Onslow Gardens,
"April 24th, 1894.
" DEAR Dr. BRIDGE, Princess Christian has desired
me to write and tell you how much obliged she is to
you for the very kind way in which you made and
carried out the musical arrangements, with which all
present were delighted, on the occasion of Her Royal
Highness unveiling the Jenny Lind Memorial on
Friday last in Westminster Abbey.
" Her Royal Highness wishes me to mention how
much also she appreciated the singing of the boys.
" Believe me to be,
" Yours very truly,
" CHARLES ELIOT."
Later in 1894 the death of my old and good friend
Canon Prothero brought a great loss to the Abbey and
to myself. Always ready to listen to any suggestions
for the improvement of the music of the Abbey services,
or that would tend to the greater welfare of the boys,
he never spared himself any effort constantly to progress
in these directions. He was kind and appreciative, and
respected by all the choral staff.
For the Hereford Festival of this year (1894) I
contributed a sacred choral work entitled "The Cradle
of Christ."
An interesting musical event with which I had
much to do was the Exhibition of music and musical
instruments held in Fishmongers' Hall, under the
auspices of the Musicians' Company, in 1904. We
assembled a splendid collection of old instruments,
among which was a reputed reproduction of the
RECITAL ON THE WATER-ORGAN 151
Graeco-Roman hydraulus * or " water-organ," in which
there is no bellows, the wind being maintained and
equalised by the weight of a column of water raised
by a pump worked by a lever. The Prince and
Princess of Wales (now King George and Queen
Mary) visited the Exhibition, and I was asked to
contribute a selection on the "water organ." It proved
a very wheezy affair, and I found it difficult to play
even the National Anthem upon it. However, after
a little practice I thought it could be managed,
my friend Sir Homewood Crawford, a prominent
member of the Company, undertaking to blow. His
Royal Highness and the Princess of Wales were
very much interested in the instrument, so I set
to work to play, and Sir Homewood Crawford to
blow, but the effect was certainly rather ludicrous.
It amused the listeners very much. At the end
of my "recital" I apologised for my poor effort, and
added, " Sir Homewood is not a very expert blower."
He was fairly taken aback at my audacity, but said
nothing. However, later on he had a chance of getting
me to make amends. When the Coronation of King-
George was being arranged, it became necessary to
provide two blowers for an auxiliary bellows for the
organ. Of course we had a band, but at some parts of
the service the organ was used alone, and although
it was blown by electricity, yet I had to insure
against an accident cutting off the wind. So a
small bellows was installed to supply a part of the
organ, if an accident should happen. Thus was
established a bit of valuable patronage, as its conferment
* It was constructed from the descriptions given by Hero (B.C. 250)
and Vitruvius (c. A.D. 50), and from details supplied by a pottery
model discovered at Carthage and made in the early part of the second
century A.D. A full description, with illustrations and diagrams, appeared
in " The Reliquary," July, 1904, and in the printed collection of Lectures
delivered at the Exhibition.
152 A WESTMINSTER PILGRIM
assured the recipients seeing the Coronation ! Sir
Homewood put in a claim to be one of my emergency
blowers, on the strength of previous experience ! His
fellow-blower was my old friend the Rev. Duncan Ross,
Presbyterian Minister from Aberdeenshire, whose Kirk
I had attended when in Scotland. They were both
rehearsed the day before, and became quite efficient in
their work. But they did not have to blow, and so were
able to see a great deal of the Coronation ceremony.
Adverting to the Musicians' Company's Exhibition,
I recall an amusing little "professional" encounter
with Dr. C. W. Pearce. I was delivering one of the
lectures that formed part of the scheme of the Exhibition,
and the afternoon was inordinately hot. Pausing in
my address, I drew attention to the need for ventilation,
whereupon Dr. Pearce got up, and, as the event proved,
wrestled unsuccessfully with some cords that should
have opened the windows. His discomfiture was
complete when I remarked in a loud whisper to the
audience that he, a Doctor of Music, seemed "unable
to manage the common c(h)ord."
The lectures above referred to drew large audiences,
my friend Dr. T. Lea Southgate being indefatigable in
his attention to numerous details of organization that
contributed to the general success of the undertaking.*
A name that may justly be coupled with Dr. Southgate's
is that of the late Mr. Alfred H. Littleton, who, as well
as himself contributing to the lectures, loaned the
unique collection of historical books from his valuable
musical library which formed one of the features of the
Exhibition.
* Dr. Southgate was always willing to place his valuable manuscripts
at my disposal, thus enabling me on several occasions at my lectures at
numerous other venues to revive many old " Fancies " for strings by
Jenkins, Dering, and others.
CHAPTER XII.
Purcell Celebration Purcell's Te Deum : A Dramatic Incident
Purcell Memorial in the Abbey Purcell's Residences Relics
A Purcell Myth Purcell Stops in the Abbey Organ
Conductorship of the Royal Choral Society A "Cabman Critic"
A Contrapuntal Waiter.
EXCEPT for various weddings and funerals, there is
nothing to record concerning my work at the Abbey
until 1895. This year brought the bi-centenary of
Henry Purcell, our greatest musician and a former
organist at Westminster Abbey. I had made up my
mind to have a memorable celebration if possible, and
the suggestion was approved by the authorities, a large
choir being organized and rehearsed with a complete
orchestra. We took a great deal of trouble to obtain
the best anthems of Purcell, such as would be suitable
for a large choir, for of course the " verse anthems,"
as they are called, would be ill-adapted for interpre-
tation by the resources assembled. I also desired
to include the celebrated Te Deum written by
Purcell for St. Cecilia's Day, 1694, and sung at the
Festival at St. Paul's until Handel produced his
" Dettingen " setting. After that it shared the Festivals
with Handel's music. I may confess to being rather
troubled about the Purcell Te Deum. I had tried it
once and found it very tedious and wearisomely long.
Also there existed an account of Mendelssohn's having
heard it at St. Paul's, and his severe remarks upon the
composition. On looking over the score I formed the
154 A WESTMINSTER PILGRIM
conclusion that it could not be done. It would take
up too much time, and frankly the work did not
seem worth it. Of course one hardly dared breathe
these sentiments to Purcell-lovers, but I did speak to
Sir Hubert Parry on the subject, and found he agreed
with me, saying he thought it " dull and long-winded."
So with much regret I determined to omit it. Then
occurred a most dramatic and fortunate incident.
When walking one night to my house in the Cloisters,
after evening service, a man appeared out of the gloom
and stopped me, saying " Have you a few minutes,
Sir?" "No," said I, for I was very busy, and perhaps
not very polite. " Oh ! " said he, " I am sorry, I
wanted to show you a manuscript; I think it is by
Purcell " ! " Come home with me," I replied, with
great cordiality. As we neared my house I recognised
him as Mr. S , a Lay-Clerk of Windsor. When we
got in I took him to the drawing room to have a cup
of tea, and he handed me a roll of manuscript
music. Placing it on the pianoforte, I could hardly
believe my eyes ! Before me was the veritable
autograph score of PurcelPs Te Deum. I told him at
once what it was, and he said, " I thought you would
be interested." Inquiry elicited that it had come into
his wife's possession from a daughter of John Mitchell,
the old organist of Eton College. I had known
Mitchell well when at Windsor, as he was also a
Lay- Vicar of St. George's. It seemed that he had
lately died, and amongst other pieces of music his
daughter had presented this manuscript to the wife of
Mr. S . It did not take me long to make up my
mind to endeavour to secure the Te Deum. But
Mr. S - demurred, saying, " I can't say Yes, or No,
as it belongs to my wife." Then a bright thought struck
me. I remembered that in a drawer in my study was
a bank-note for a considerable amount. I am not in
AN INTERESTING FIND 155
the habit of keeping bank-notes there ; but it was a
fact that I did happen to have one at that moment. I
hastened to get it, and coming back, said, " My dear
S , this manuscript is of no use to you or to your
wife, but it does interest me, being at the Abbey, and
I'll exchange this note with you for it " ! This
made an impression, and after a hesitating look at
the manuscript he hastened off with the note,
leaving the music with me. Now comes the surprising
sequel to the story. I was much interested in my
purchase, particularly as it contained the names of the
original solo-singers inserted in the score. They were
mostly members of the Chapel Royal choir, of which
place Purcell was organist as well as of Westminster.
But looking through the Te Deum once or twice, I
began to rub my eyes, and wonder what was wrong
with it. It seemed so much better than the Te Deum
with which I was familiar, and so much more condensed.
Taking down the printed score, published by Vincent
Novello, in a moment I realised intuitively, but with
the most absolute certainty, what had been done.
Dr. Boyce, anxious to keep Purcell's Te Deum alive as
a rival to the " Dettingen " Te Deum of Handel, had
taken Purcell's score and broken it up into various move-
ments, adding in the process about a hundred and fifty
bars to the original, many of these additions being exceed-
ingly " dull and long-winded" symphonies. This was
the cause that had excited Mendelssohn's disgust, had
prompted Sir Hubert Parry's dictum that it was " dull
and long-winded," and established my conviction that
it was too tiresome to find a place in the Purcell
Celebration. It was a great and joyful surprise to me.
But to place the matter beyond dispute I at once looked
out one of the original printed scores issued by Purcell's
widow, which corresponded exactly with the manuscript.
This was delightful, for now it was possible for me to
156
A WESTMINSTER PILGRIM
include this great work in the programme of the
Celebration. The following day I went up to Novello's,
and told Mr. Littleton the whole story and what I
had discovered, saying, " Now you must issue an octavo
left M
gon&fo fad De
hit tftctrmony
can be exceeded*
TABLET TO THE MEMORY OF PDRCELL
IN WESTMINSTER ABBEY.
edition for us." " But," he said, " I think we have an
octavo edition already." He sent for a copy, and on
looking at it gave a very impressive little whistle,
remarking, " This is awkward ! " It was indeed an
PURCELL COMMEMORATION 157
octavo edition, but unfortunately it contained all
Dr. Boyce's additions. Mr. Littleton was good enough
to let me prepare another edition this time of the real
Purcell, which was duly sung at the Celebration. Had
my friend from Windsor turned up a few days later,
this would not have been possible, and I should always
have felt that our programme was incomplete. Oddly
enough some people rather questioned my discovery,
one excellent but conservative Cathedral organist
writing that " he did not like to give up the Purcell he
had known so long " !
Musicians were generally much interested in the
Celebration, and a wreath was placed upon the
Master's grave by a deputation from the various
PDRCELL'S ADTOGRAPH, FROM " BONDUCA " (1695).
(The MS. was formerly in the possession of Sir John Hawkins.)
musical institutions, Sir Hubert Parry, Sir Alexander
Mackenzie, Sir Charles Stanford, and Sir Walter
Parratt being among those who conveyed it to the
spot where Purcell lies. The collection was for a
Purcell Memorial in the Abbey, which suitably
took the form of one of the fine cases for the
organ, designed by J. L. Pearson. Enough was raised
to erect the case for the North side of the organ,
and later on the Dean and Chapter contributed the cost
of the case on the South side, which is embellished
with the arms of Purcell. So the Master has one of
the biggest, and, I think, one of the best memorials
preserved in the Abbey. I must not omit to add here
158 A WESTMINSTER PILGRIM
that the Dean and Chapter, on the suggestion of Canon
Wilberforce, kindly presented me with my Doctor's
robes to be worn at this Commemoration of the greatest
of Abbey organists. Already I had my Doctor's hood,
but only the black Bachelor's gown. I have worn these
robes at the Coronations, and at all the great Abbey
services since 1895.
I was also so fortunate during my preparation of
the Commemoration as to be able to glean a little
of what may be called "domestic" information
concerning Purcell, that may be viewed as an
interesting corollary to the event. By the kindness
of Mr. Aston, the secretary of Queen Anne's Bounty,
I had the benefit of the services of one of his
assistants, who exhaustively searched the rate-books
of Westminster. These are carefully preserved, and are
in excellent order. From these records we discovered
the positions of three houses in which Purcell had
lived : one in St. Ann's Lane, another in Bowling
Alley, and the third in Marsham Street. Of these,
only the one in Bowling Alley remained. Bowling Alley
is the old name for the upper part of what is now called
Tufton Street.*
I took Mr. Wright, Clerk of the Works, with me,
when we found that although the front of the house
had sustained many alterations, being subsequently
turned into a shop, the rooms at the back were
probably in the same condition as in Purcell's day,
presenting two little panelled chambers having high
wooden mantelpieces of a style which to-day would
be far to seek. (See Illus.)
Unfortunately this house, with others, was pulled
down when the new buildings of the S.P.G. were
* It led right up to the South Gate of Dean's Yard, and it seems a
pity that the old name, reminiscent of a recreation of the Monks, should
have been changed.
A DESIGNER OF FURNITURE 159
erected a few years ago, but I had a sketch made of
the interior of the principal room, and also purchased
the mantelpieces and balusters of the staircase, along
with other curious woodwork. These relics I have had
made into very useful cupboards for my music. My
friend, the late Sir Horace Regnart, sometime Chairman
of Messrs. Maples, admired these very much, com-
plimenting me on my skill as a designer of furniture !
There is no doubt that Purcell never had a house from
the Dean and Chapter, but was the recipient instead
of a yearly sum in lieu of such accommodation. His
receipts, up to the time of his death, are all preserved
in the Abbey Muniment Room.
An old house in Westminster used to be pointed out
as the one in which Purcell lived, and Dr. Cummings
gave a sketch of it in his " Life of Purcell." Dean
Stanley also had a painting of this house, which at
his death came into my possession, but it is certain the
whole story was a legend, probably invented by that
very enthusiastic Purcell-lover, Mr. Richard Clarke.
Another interesting fact which I discovered in the
course of researches prompted by the occasion of
the Purcell Celebration, was that the original pipes
of two beautiful stops in the Abbey organ, added
in 1694 under Purcell's own direction Father Smith
being the builder still formed an integral part of the
instrument.
In 1905 I had conferred upon me the Honorary
Degree of M.A. of the University of Durham by Vote
of Convocation. I had for many years acted as an
Examiner in the University along with my old school-
fellow, Dr. Armes, Professor of Music there, and Sir John
Stainer, and had laboured (not unsuccessfully, I hope)
with these musicians to place the Musical Examination
upon the high level to which it has now attained.
Dr. Armes was the pupil of Hopkins, at Rochester, for
i6o A WESTMINSTER PILGRIM
whom, it will be remembered, I pulled out the organ-
stops as a boy, and blew the organ when he practised
"Baal, we cry to thee."
The Examination periods at Durham were delightful
times. The University extended a right cordial welcome
to the Examiners, lodging us in the Castle and feeding
us sumptuously. As Armes and I hailed from the
same Cathedral School, we had many a story of past
days to enliven the evenings. When he died he was
succeeded in the Professorship by my brother,
Dr. J. C. Bridge, of Chester.
The death of Sir Joseph Barnby in 1896 left vacant
the conductorship of the Royal Choral Society, and
the Council were good enough to offer me the post.
Having had some experience both in Manchester
and in London in conducting choral forces, I
gladly accepted the position. Curiously enough,
I had ten years before conducted a rehearsal of the
Society. It was the first rehearsal of Sullivan's
" Golden Legend." Barnby was ill, and at the last
moment I was asked to take the baton. There was only
a very short time in which to look over the score of the
new work, but we had a very successful rehearsal, and
Barnby wrote me the following very kind and appre-
ciative letter. It is interesting, viewed in the light that
I became his successor as conductor of his famous
choir, a position that I continue to administer after
upwards of twenty-two years :
" The Cloisters,
"Eton College, Windsor,
"September 2Qth, 1886.
"My DEAR BRIDGE, I owe you many thanks for so
kindly taking my rehearsal for me on Monday night.
I have heard such a report too of its success, that I am
quite free from all anxiety.
THK MEDAL OF THK WORSHIPFUL COMI'ANY OF MUSICIANS.
ORCHESTRAL VOCALISTS 161
" I think you would be inclined to smile if you could
see the enthusiastic way in which Hedley* speaks of
your admirable management. Once more thanking
you heartily and sincerely,
"Believe me,
"Sincerely yours,
"J. BARNEY.
"You will be pleased to know I am much better."
I hope the choral singing has not deteriorated in the
years that I have held the pleasant position of conductor
of the Royal Choral Society. It is unfortunately not
possible to be very enterprising, for expenses have to be
met, and the public will not come in paying numbers to
hear any but well-known works. However, I claim
during my many years of office that we have kept the
performances at a good level, and brought forward
many new works. In the Appendix will be found a list
of the works performed under my direction by the
Royal Choral Society. My relations with both choir
and orchestra have always been very happy ; now and
then I have been betrayed into a satirical word, but
seldom into an angry one. Yet the orchestra has
given me one or two chances. One occasion was
when they joined in the " Demon Chorus " in
" Gerontius," singing " Ha ! Ha ! " with a nasal tone
(this had been allowed by some conductors, but
I strongly disliked it). I pulled them up, with the
remark, " Don't join in ; but if you must sing, let us
hear what will come more naturally to you, 'He-Haw' ! "
Mr. Gervase Elwes was present, and never forgets to
tell me of this incident, which delighted him.
Another time, when remonstrating with them for
playing too loudly, I asked, " Why don't you play
as softly as you did on Sunday last ? I am told that
* The Secretary of the Royal Choral Society at that time.
M
1 62 A WESTMINSTER PILGRIM
it was delightful. But I suppose you had a long-
haired German conducting, and took more notice of
him than you do of me!" "No, Sir," said one,
" It wasn't a German it was Percy Pitt." "Ah," said
I, " under a man with such initials you could not help
but play pp ! "
On yet another occasion we were rehearsing
Berlioz's " Faust." This time, however, it was the
choir, and I remember rebuking the tenors for
singing the Satanic choruses so listlessly. I must
explain that in this fearful scene Berlioz has set music
to some very odd gibberish, invented by himself, and
supposed to represent the language of Hades. I called
the singers' attention to one line, pronouncing the
words as I wished them to be sung. But I mis-read
a word, and was instantly detected, for a mellifluous
voice from the tenors piped up, " But there 's an o at
the end of it, Sir " ! However, I was at once able to
subdue him : " Yes," I retorted, "and you'll say 'Oh ! '
if you get there and don't know the language ! "
And here perhaps I may appropriately tell the story
of my "cabman critic." I picked him up one night on
leaving the Albert Hall, after conducting a concert.
He drove me home. I had alighted in Dean's Yard,
and was searching in my pocket for the fare, when
suddenly he exclaimed, " Well, Sir Frederick, how did
the concert go off? " I was rather taken aback by this
unexpected query, and for a moment hardly knew
what to reply. In point of fact, the particular concert
was one of a special character. We had given a
selection of Wagner, including " The Last Supper," a
very difficult work which had not been done in London
for, I think, some twenty-five years indeed, very few
choral societies had been able to tackle it. Pulling
myself together, I said to the expectant cabby, " Oh, I
think pretty fair." My friend at once replied, " Well,
A CABMAN CRITIC 163
for myself I don't understand Wagner [pronouncing
it in familiar English], he is too abstruse and mathe-
matical for me." This amused me very much, and
after a little more conversation I said, " Well, you
know who I am. If you like to look out for me I shall
be glad to employ you to take me to and from the
rehearsals." He thanked me, and said he would not
forget. True to his word he turned up on the next
occasion of a rehearsal. Afterwards I employed him
often. He constantly came to the rehearsals, and also to
the concerts, and on not a few occasions honoured me
by adversely criticising my conducting. For example,
he said, after a performance of " Messiah," " It
was very good, Sir Frederick, very good : but what
makes you take the * Hallelujah Chorus' so fast?"
"Fast," said I, "I didn't take it fast." "Oh, yes,
you did," he observed, shaking his head, adding, as
he drove off, " It may gain in brilliancy by your method,
but it loses in majesty. Good-night ! "
On another occasion my cabman critic rather non-
plussed me by asking what I thought of Perosi, the
Italian composer whose music was then being talked
about in London. Not knowing much about him,
however, but not wishing to exhibit my ignorance,
I fenced with the question. He soon discovered I
was somewhat at sea on the subject, and proceeded :
" If you have not seen his ' Transfiguration ' I
will lend you the score." I thanked him, and we
parted. The very next time I required his services
he reminded me of the conversation, and handed
me the score, producing it from under the box-seat.
I could give numerous instances of his extraordinary
powers of criticism and of his love for music. I found
on inquiry that he did not drive his cab on Sundays,
but spent most of his time practising on an organ
which he had at home. At different times I presented
1 64 A WESTMINSTER PILGRIM
him with a good many pieces of music, my own
compositions being amongst the number. These
he considered to be somewhat "knotty" (I suppose
his familiarity with the whip suggested this critical
term). It was easy to perceive his great delight in the
short discussions that I was able to give him, in
the quiet of Dean's Yard, after my return in his cab
from a concert or rehearsal. He was one of the most
musical men in a humble walk of life that I have
ever met, and I am sure his verdicts on performances
would bear favourable comparison with those of many
professional music critics. After he lent me the score
of Perosi's oratorio I dubbed him.Perosi, and that was
the name by which the linkmen at the Albert Hall
got to know him (some of them playfully, after their
manner, contracting it to " Rosie "). I think it is no
small credit to him that from the uncongenial altitude
of the box of a London cab he had been able to
cultivate music so successfully.
That my cabman took a real pleasure in serving me,
and that he heartily appreciated the interest that I
unfeignedly found in him, is evidenced by the following
letter written by his daughter, which explains itself:
"May 8th, 1900.
" l DEAR SIR, Father requested me to write to you
apologising for disappointing you last evening. He
got a fare through the City, and was blocked by the
traffic as a result of the procession of the Naval
Squadron. It would appear that he was careless or
indifferent about keeping his appointment, but such is
not the case. He has been a victim to circumstances,
and had no alternative but to accept the situation.
. Trusting you will accept this explanation, he
remains your
" Most humble and faithful servant,
AN ANTIPODEAN CORRESPONDENT 165
But this is not the only example of a musical
enthusiast I have met in unexpected places. Among
many curious experiences that have come to me as
organist of Westminster, I may mention the eager
desire shown by unknown music-lovers in far away
corners of the world to make me their correspondent.
Numerous compositions reach me in this way, the hope
and pride of whose creators is that each their child of
many prayers may be heard in one of the Abbey services.
Many works, again, are submitted to me with a request
for an opinion upon their merit. One of my most
industrious correspondents writes to me from a poultry
farm in Australia. He says that his is a remote part
of the country, and that he amuses himself by playing
on the American organ and on the mandoline. He
composes a good deal, setting many tunes to popular
hymns. Also he has turned his attention to organ
voluntaries, producing among these latter a "Dirge"
for a favourite dog that had been killed by a motor.
He does not say if he developed this theme as
programme music ; but concerning its inspiration, I
was led to reflect that even in the back country where
he lives, motor traffic could be a source of danger. I
asked in one of my letters if he found that cocks and
hens took any interest in music. He assured me that
some of them were really musical, and that music was
very effective in stimulating the production of eggs !
I have maintained an interesting correspondence with
my friend, whose attraction, although I have never
seen him, lies in his obviously sincere love for music
and his simple enthusiasms. On one occasion he sent
me a setting of some words (a carol) which I myself
had set to music. Apparently he thought I had not
been very successful in the attempt.
It has always been interesting to me to observe how
unreliable are occupation and environment in affording
1 66
clues to the mind and disposition of people to whom
one may perhaps casually assign a certain mentality
because of their surrounding circumstances. Of course
I am not alone in forming this conclusion. It has
become a foible of mine, from which I have now and
then got much pleasure, and some amusement, to be
on the alert to note and study natural talent flourishing
in uncongenial or unexpected places. My cabman
friend and my poultry-keeping correspondent afford
instances. Another comes to my mind in the person
of a waiter. He has now disappeared, but when I
knew him he flourished at a well-known restaurant
where some social functions were wont to be held in
connection with a certain musical society. My waiter
revealed himself as a scientific musician. One evening,
whilst handing me the wine-list, he took the opportunity,
after the confidential manner of his craft, of opening a
small conversation. Then, to my great surprise, he
went on to say how much he liked my primer on
" Counterpoint," in his zeal there and then pro-
ducing the book from his coat-tail pocket. Later I
learned that he was very fond of organ-playing. I
wondered, however, if sometimes, to their intense
amazement, he inadvertently handed the guests my
" Counterpoint " instead of the wine-list.
I once contributed a short poem to Punch. It was a
parody on the well-known song " Sally in our Alley,"
and it owed its origin to the fact that Mr. Labouchere,
familiarly known as " Labby," bought a house abutting
on the Cloisters of Westminster Abbey, which could be
plainly seen from my own windows. This induced me
to write " Labby in our Abbey." It was at the time
when Mr. Balfour was often called " Bomba " by the
Irish Members, and when the Ministers were supposed
to be taking advantage of the Septennial Act. My
poem fits the tune of " Sally in our Alley " excellently
"LABBY IN OUR ABBEY' 167
well, and I have sung it myself more than once at
musical dinners. Sir George Grove brought it to the
notice of the Editor of Putuh, who inserted it, but with
a few little emendations of his own. These, I may
say, did not have my full approval ! Its authorship
was not stated, but it was said to be by a
" Westminster Chorister," which was coming pretty
near home. I append the words :
Of all the boys that are so smart
There 's none like crafty Labby :
He learns the secret of each heart,
And lives near our Abbey.
There is no lawyer in the land
That 's half so sharp as Labby ;
He is a demon in the art,
And guileless as a Babby.
For " Bomba Balfour " in the week
There seems to be no worse day
Than is the one that comes betwixt
A Tuesday and a Thursday.
For then we read each foul misdeed,
" Unmanly, mean, and shabby,"
Exposed to view in type so true
By penetrating Labby.
The Ministers and Members all
Make game of truthful Labby,
Though but for him 'tis said they'd be
A sleepy set and flabby.
And when their seven long years are out
They hope to bury Labby ;
Ah ? then how peacefully he'll lie,
But, not in our Abbey ! !
CHAPTER XIII.
Diamond jubilee Celebration Knighthood Sir William Gowers
Sir William Crookes : " Timing " a Knighthood Dean Hole and
his " West Front " The " Flag of England " Mr. Rudyard
Kipling and his Poem Funeral Service for Mr. Gladstone
The Duke of Westminster and " Westminster Bridge."
THE year 1896 was fairly uneventful so far as my
work at the Abbey was concerned, but in 1897 came
the Diamond Jubilee of Her Majesty Queen Victoria.
This was not celebrated in the Abbey, as was the 1887
Jubilee. Mainly it was spectacular, and wholly for
the people, and as part of this scheme Her Majesty
attended a short service held on the steps of St. Paul's
Cathedral. The Abbey choir was included in the
fine choral body organized by Sir George Martin,
an inspiring and notable performance of a Te Deum
composed by him for the occasion being given.
About a fortnight before the Jubilee I had the pleasure
of receiving a letter from the Marquess of Salisbury
saying that he had recommended me for the honour ot
Knighthood, and adding: "It affords me satisfaction
to be authorised to inform you that Her Majesty has
approved the honour in recognition of your long
services, and of the high position which you occupy in
the profession with which your name is so honourably
connected."
I need hardly say I was much gratified, and
returned a suitable reply. But it was for the time
being a secret, and was not made known until the list
appeared on the morning of the Jubilee. On meeting
TIMING A KNIGHTHOOD 169
the choir at St. Paul's I was congratulated by many,
while all seemed pleased that Martin and I should
have been selected for this great honour.
I went to Osborne to receive the accolade, travelling
from Victoria by a special train in the company of
eleven others who also were to be knighted. It
proved a pleasant journey. After luncheon we were
marshalled in a corridor, to be in turn ushered into the
Royal Presence. As I came out of the room I observed
Prof. William Crookes with his watch in his hand.
He too was about to be knighted, and as he put up his
watch he casually remarked that he had been seeing
" how long it took to knight a man." The passion for
acquiring scientific knowledge did not desert him even
at that moment.
My companion in the carriage in which we drove to
Osborne was Dr. Gowers, a celebrated nerve-specialist,
after that day to be known as Sir William Gowers.
His conversation was very interesting, and a remark of
his clings to my memory, viz. : " For fifty years I have
worked in the mines of medicine, now this comes just
in time to lubricate the machinery." We there and
then struck up a great friendship. Later he came
frequently to the Abbey organ-loft, and being well
acquainted with Mr. Rudyard Kipling, was kind
enough to speak to him concerning my wish to set
some of his poems. Some years afterwards I found in
Sir William a very kind and candid adviser. My nerves
were rather bad, and feeling myself generally over-
strained after the Coronation (in 1902), I consulted him
professionally. He was very downright in his summing
up, so much so that his manner would have frightened
some people. After examining me, he said : " Your
heart is all right and your brain is all right, and you
are not going to have paralysis, which I suppose
you have feared. But you must go to H arrogate for
170 A WESTMINSTER PILGRIM
three weeks!" This took my breath away. Never
before had I been compelled to absent myself from my
Abbey duties on account of illness for more than a day
or two. "That's impossible," I at once ejaculated.
"I might manage a fortnight, but ." "Three
weeks," he retorted, " if not, you'll possibly have to
carry your arm in a sling for months ! " So 1 went.
For a few years after the ceremony of the Jubilee
knighthood at Osborne, those of us who had met there
on the same day dined together once a year. Alas !
as time sped, the knights at that table grew fewer, and,
their parts played in the great symphony of life, one by
one that little company extinguished each his candle
and stole away into the unknown region. To-day
but one or two remain to think upon days that are
accomplished and faces that have vanished.
Dean Hole wrote me a most kind letter upon my
knighthood, wishing that my dear " father had lived to
see it." I gave a lecture in aid of the restoration of
the West Front of Rochester Cathedral, and the Dean
very humorously moved a vote of thanks to me for, as he
said, "contributing to the restoration of My West Front "
striking himself on the chest as he said the words !
Among other gratifying incidents of my knighthood
were the many letters of congratulation that flowed in
upon me from numerous friends, a few of which
I venture to append. One, from the Bishop of
Winchester,* is dated at Farnham Castle, Surrey :
11 June 2.2nd, 1897.
" MY DEAR SIR FREDERICK, Warmest congratula-
tions on an honour which will give genuine pleasure
to your many friends old and young, and not least to
" Yours very truly,
RANDALL WINTON."
:; Now Archbishop of Canterbury.
CONGRATULATORY LETTERS 171
My dear friend Sir George Grove wrote to me as
follows :
" Lower Sydenham, S.E.,
" June zyth, 1897.
" DEAR SIR FREDERICK, and my very good old friend
and helper, I can only give you three lines, but they
must be of hearty congratulation to Lady Bridge and
yourself on the honour which has been conferred on you
and which I hope you may enjoy for many years to come.
" Always, My Dear Sir Frederick,
" Your affectionate friend,
" G. GROVE."
Sir John Stainer sent the following characteristic
note :
11 South Parks Road,
" Oxford,
"July 22nd, 1897.
" DEAR BRIDGE, I beg your acceptance of a
Magdalen Coll. 'tun'* as a token of my pleasure on
your knighthood, and my gratitude for your kindness to
" Yours truly,
"J. STAINER."
The publishing house of Novello, through the head
of the firm, the late Mr. Alfred H. Littleton, marked
the Diamond Jubilee year in engaging fashion-
at the same time conferring an additional honour on
Sir George Martin and myself in giving practical
shape to the scheme referred to in the following circular
letter :
June 30th, 1897.
" MY DEAR SIR, A suggestion has been made by
one of the most prominent of our Cathedral organists
that this year of Her Majesty's Diamond Jubilee would
* A silver flagon to contain Magdalen ale.
172 A WESTMINSTER PILGRIM
offer an opportunity for the organists of our various
Cathedrals to meet together in a friendly way for the
purpose of mutual intercourse and of becoming per-
sonally acquainted with each other.
" The distinguished honour which Her Majesty the
Queen has recently conferred upon Cathedral organists
in the Knighthood of Sir Frederick Bridge and Sir
George Martin is an additional reason for such a
meeting as has been suggested.
" I therefore venture to hope that your engagements
will permit you to accept the enclosed invitation to
meet Sir Frederick Bridge and Sir George Martin,
and your other fellow Cathedral organists, who I hope
will honour me with their company on the occasion.
" Yours very sincerely,
" ALFRED H. LITTLETON."
The outcome was a delightful reunion that proved
interesting and was probably unique. The function took
place on July i6th, when Mr. and Mrs. Alfred Littleton
entertained to dinner at their house in Devonshire Place
all the chief musicians of the principal Cathedrals in
the United Kingdom. Some very diverting speeches
were made, among the speakers being Dr. E. J.
Hopkins, then in his eightieth year.
For performance by the Royal Choral Society at
the Albert Hall, in the Diamond Jubilee year, 1897,
I wrote "The Flag of England" Choral Ballad,
words by Rudyard Kipling, Her Majesty the Queen
graciously accepting the dedication. This composition
has a curious history. I first heard the poem quoted,
or a portion of it, in a sermon in the Abbey by Canon
Farrar. Going to him to ask whose it was, I learned
that the author was Rudyard Kipling. Canon Farrar
gave me a copy of the poem, remarking at the same
time how finely it would go to music.
"THE FLAG OF ENGLAND" 173
I thereupon wrote to Mr. Rudyard Kipling with
a view to securing his permission to set the poem
to music. He replied very cordially to my letter,
placing his poem entirely at my disposal, saying :
" You are at entire liberty to use as much or as little of
it as you may think necessary or musically practicable :
and if I can make any of the words more open I
shall be happy to do so." I had ventured upon some
suggestions to him with regard to an Epilogue, which
I had thought might appropriately end the work from
the musician's point of view. But to this he demurred,
for the reason that " any addition would be a somewhat
violent wrench to the verses." Needless to say, I did
not press the point any further.
Upon getting to work on the poem I was mortified to
find that after completing about two-thirds of it my
inspiration failed, so that I really could not just then
invent a satisfactory conclusion ; whereupon it was
put away for a while in my study drawer. When the
time for the Jubilee drew near, Mr. Alfred H. Littleton
called on me one day, and said, '* We want you to set
a poem to music which will come in handy
for the Jubilee " ; whereat he produced the words of
II The Banner of St. George." Instantly my mind
went to my unfinished work. I answered, " Wait
a moment, let me read you a poem which is also
suitable to the event, and that I have already started
upon." His interest was at once kindled in " The
Flag of England," and putting the other poem in his
pocket he asked me if at once I could go on with
mine. I did so, and, as already stated, we performed
it at the Albert Hall. It proved to be the most
successful of any of my Choral Ballads.
In this year we had the funeral service of
Princess Mary Duchess of Teck. The following
year, 1898, Mr. Gladstone died, and was buried in
174 A WESTMINSTER PILGRIM
the Abbey, a great and distinguished congregation
attending. It is recorded of the veteran statesman that
in his eighty-fifth year, in the course of an address to
twenty thousand people gathered under the walls of
Hawarden Castle, he uttered these words : " Music is
of enormous advantage both to those who hear and
those who perform it. It is a great blessing to the
people, and I think that there are few satisfactions in
my mind greater than to witness the progress it has
made in the course of the last fifty years." Of Mr.
Gladstone's personal attainments in music, it is said
that he used to play the violoncello and possessed a
charming tenor voice. Judging only from his speaking
voice, one can easily believe this to be true. It is
interesting to recall that in the midst of the long and
patiently borne sufferings of his last illness, he found a
solace in consoling music. His special interest in
Church music is well known. For the funeral service
the choir of the Abbey was augmented by those of the
Chapel Royal, St. Paul's Cathedral, the Temple
Church, and St. Margaret's, Westminster. The music
performed on this occasion comprised among other
numbers a Funeral-Equale for four trombones, by
Beethoven, Schubert's March in B minor, the Dead
March in " Saul," Beethoven's March in A fiat minor,
Service music by Croft and by Purcell, and hymns.
The Right Hon. Herbert Gladstone (now Lord
Gladstone) sent me the following letter shortly after
the funeral, which I am gratified in being able to
append :
<; Hawarden,
May 30//J, 1898.
" DEAR SIR FREDERICK BRIDGE, Accept our grati-
tude for the most beautiful music you gave us last
Saturday at the Abbey. Nothing could have been
more solemn and sustaining, and we shall carry the
FUNERAL OF MR. GLADSTONE 175
recollection of it all our lives. We could wish to thank
all who contributed to it, but that is beyond our power,
though perhaps in some quarters you may be able and
kind enough to make it known what we feel.
" Very sincerely yours,
" HERBERT J. GLADSTONE."
In 1899 there was celebrated in the Abbey a thanks-
giving service for Queen Victoria's eightieth birthday.
Later in the same year came the funeral service for the
Duke of Westminster. His Grace used to delight to
call me " Westminster Bridge." This well-known
sobriquet was bestowed upon me by old Sir John Goss,
who, when I was appointed to the Abbey, wrote to
me at Manchester to congratulate me, adding that he
was going to a dinner that night, and should propose
the toast of " Westminster Bridge."
Following quickly upon the memorable service
for Mr. Gladstone, came the death of Sir Edward
Burne-Jones. It was indeed appropriate that this great
artist and craftsman should receive a fitting tribute in
the glorious West Minster that conserves in its fabric
so much of the soul of art, wrought by master crafts-
men through the centuries.
I venture to give some extracts from a letter
that I received shortly afterwards from Lady Burne-
Jones :
July 22nd, 1918.
"DEAR SIR FREDERICK BRIDGE, I cannot rest with-
out writing to you to thank you with all my heart for
the beauty of the music you made at the Memorial
service in Westminster Abbey. . . .
" We never forget the most kind offer you made on
the one visit you paid to us to give us the benefit of
your judgment about our organ that you would some
evening let us come and sit quietly in the Abbey and
hear you playing there ; and it was always a pleasant
176 A WESTMINSTER PILGRIM
contemplation that it would take place someday. But
we never claimed the fulfilment of the promise, and
now you have kept your share of it, and I thank you
for myself and for my children.
" Nothing else in the world could have done for us
just what that service did and we shall never, never
forget li " " GEORGIANA BURNE-]ONES."
In 1900 we had a memorial service to John Ruskin ;
also the funeral of Mrs. Gladstone, who was interred
in the Abbey by the side of her husband.
In January, 1901, the Rev. H. E. Ryle, D.D., was
consecrated Bishop of Exeter, and in February we had
a special memorial service on the occasion of the
funeral of Queen Victoria. For this service the anthem
I wrote for Browning's funeral (" He giveth his beloved
sleep," a setting of words by Mrs. Browning) was
again performed, and I also arranged an elegy from the
celebrated " Manzoni Requiem " for brass and organ.
At Christmas, 1901, I received the following gracious
letter from H.R.H. The Duchess of Albany, along with
the gift therein referred to, to speak of which recalls
many incidents that filled those " pleasant evenings "
that, viewed by recent events, now seem so far away :
" Villa Ingenheim,
" Wildpark,
" (Potsdam) Germany.
"December i^th, 1901.
" DEAR SIR FREDERICK, The Duchess of Albany is
sending you by this post a little pin, which she hopes
you will wear sometimes in remembrance of the very
pleasant evenings you have been the means of giving
her in the Abbey.
"With all good wishes of the Season,
" Very truly yours,
"R. H. COLLINS."
HENRY PURCELL, 1658-1695.
CHAPTER XIV.
Coronation of Their Majesties King Edward VII. and Queen
Alexandra Earl Marshal's Letter The Bishop of Winchester
and the Music Canon Armitage Robinson and his Valuable
Work A learned Gillie Musicians who contributed to the
Service The Problem of the " Vivats " A Veteran Singer from
Wells.
THE year 1902 presents a varied chronicle. We saw
some changes in the Abbey Chapter, Bishop Welldon
being installed as Canon, while later in the year
Canon Armitage Robinson became Dean in place of
Dr. Bradley, who for the long period of twenty-one
years had held sway, and now retired. But the event
of outstanding interest was the Coronation of Their
Majesties King Edward VII. and Queen Alexandra.
This was a matter of absorbing interest to me. I
very naturally desired that the direction of the music
at this great ceremony should be placed in my hands,
hoping that the experience I had had in arranging
the Royal Jubilee Service in 1887, and the success
which attended those efforts, would be remembered
in my favour. It was not at all a foregone conclusion
that I should be selected as " chief musician."
For the purposes of a Coronation the Abbey is
for the time being taken over and administered by a
Coronation committee, of which the Earl-Marshal is
hereditary head ; and this committee can recommend
whom they please to direct the music. So far as I can
learn, no organist of the Abbey since Purcell's time
had directed the music of a Coronation until it fell to
my lot to do so. The Coronation music of William IV.
and Queen Victoria was all in the hands of
Sir George Smart, the organist of the Chapel Royal,
N
178 A WESTMINSTER PILGRIM
St. James's. He of course was the great man of that
time, conducting many of the festivals, &c. ; yet, as
will be seen later, he was not director by virtue of
his office as organist of the Chapel Royal, but was
nominated by the King.
My anxiety was set at rest by a kind letter from the
Bishop of Winchester, Dr. Randall Davidson, telling
me that, as would shortly be communicated to me
officially by the Coronation committee, it had been
decided that I should be asked to accept the respon-
sibility for the musical arrangements in connection with
the Coronation ; also that, arising therefrom, I should
further be requested to take counsel with Sir Walter
Parratt, the Master of the King's Musick, in order,
said the Bishop, " to let him share the responsibility
which must ultimately and formally be yours." His
Lordship added, " I am very glad the responsibility is
placed in your hands. I found no difficulty in carrying
my resolution to that effect, and the King wholly
approves, and your friendship with Parratt ensures all
going smoothly and well in your co-operation."
I need not say I was only too glad to have Sir Walter's
help, and no one ever had a kinder, more considerate,
and wiser colleague than I found in him.
In a few days I received the Resolution of the
Coronation committee, together with the following
letter from the Earl-Marshal, His Grace The Duke of
Norfolk :
" Earl-Marshal's Office,
" Norfolk House,
" St. James's Square, S.W.,
"December iSth t 1901.
" SIR, I forward herewith a Copy of a Resolution
recently passed by the Executive Committee for the
purposes of the ensuing Coronation of their Majesties,
A FORTUNATE FAILURE 179
and desire to request that in accordance therewith you
will be good enough to undertake the management of
the Music in Westminster Abbey on that occasion.
" I have the honour to be, Sir,
" Your obedient servant,
" NORFOLK,
" Earl-Marshal."
The Bishop of Winchester was good enough to
inform me upon certain points which I should bear
in mind when selecting the music. One was brevity.
Further, no anthem was to be sung except " when
something was going on," so as to avoid prolonging
the service. And the Te Deum, Creed, &c., were to be
simple, short, and dignified.
These suggestions were very useful to me, and
particularly the direction that no long anthems were
wanted. I need not say that later on I got an immense
number of irresponsible suggestions from all manner
of sources concerning what ought to be done, also a
good many poems and anthems which their respective
authors would have wished me to include. But the
Bishop's direction saved me much trouble.
Yet I may add that I was myself guilty of trying to
obtain a fanfare for trumpets, which had been
recommended to me as having been played in
Germany, at, I think, one of Joachim's concerts.
Application was made through our Ambassador at
Berlin, Sir Frank Lascelles, to procure for me
permission to use this fanfare at the Coronation ; but
the reply was that the Emperor's permission was
necessary for the transmission of the music. The
Emperor was away in Alsace ; meanwhile the
Ambassador wrote that he imagined that " His
Imperial Majesty would be pleased to do anything
that would add to the grandeur of the Coronation
180 A WESTMINSTER PILGRIM
solemnity." I failed, however, to obtain this fanfare,
and I need hardly say now that my want of success
was very fortunate.
It was no small embarrassment that there had been
no Coronation for upwards of sixty years, and it was
impossible to find anyone who had attended the
Coronation of Queen Victoria who was competent to
give useful information concerning the music employed
on that occasion. Curiously enough there were two
members of the choir who had actually sung at the
Coronation of Queen Victoria, and one of them also
had sung at the Coronation of William IV., but they
were very young choristers then, and could really tell
me nothing of value.
Among many important discussions were those
which I had with Canon Armitage Robinson, who was
very learned in Coronation service lore, and took an
immense deal of trouble about the matter. I had to
suggest where the band and choir could be placed
to the greatest advantage, having regard to all the
restrictions imposed, and this proved a very difficult
problem, every inch of room being wanted by the
authorities for the congregation. The experience
that I had gained at the Jubilee in 1887, however, stood
me in good stead, while the Office of Works showed
every desire to help to their utmost. In choosing
the music I had to follow exactly the form of service
prepared by the Archbishop of Canterbury ; but
the words of the " Homage " anthem were not
in the official programme, and these ! myself
selected. In connection with this anthem I may
perhaps put on record a little anecdote touching
Archbishop Temple. I forwarded to the Archbishop's
chaplain the words which I thought appropriate for the
anthem, asking if His Grace would approve them so
that I could set to work on the composition. Some
A REMARKABLE GILLIE 181
delay took place, and I began to get rather anxious, so
I wrote again, asking if possible for an early reply
from His Grace. A day or two afterwards Canon
Armitage Robinson told me he had been at Lambeth
Palace the night before, and the Archbishop had
referred to my anxiety in the following terms :
"Bridge is anxious about his music; tell him that's
his job, not mine." I took this for assent, and began
at once to set the words to music.
I had the opportunity of getting away for about a
fortnight for a little fishing on the River Awe in
Scotland, and it was by the side of this fine river that
I did most of the work upon my anthem while my wife
fished. Here I may digress for a moment to mention an
interesting incident that came under my notice at this
time, showing the industry and pluck of a Scotsman.
We were staying at an hotel, and the landlord found for
us a gillie to carry our rods, bags, luncheon, &c., down
to the river and generally to attend to our wants after
the manner of gillies. Our acquisition proved to be
a quiet young man with something in his manner
and address that quickly arrested my attention.
Thus it fell out that while my wife was fishing and
I was busy composing, I looked up occasionally,
and noticed our gillie engrossed in a book, which after-
wards I discovered was a treatise in Greek. My wife
and I were a bit surprised, and wondered who it was
we had taken into our employ. Later in the day
the gillie called my wife's attention to a certain
flower as belonging to a species that was very rare.
We made up our minds that here indeed was " a chieF
takin' notes," and on getting back to the hotel we
privately asked the landlord who the gillie was. It
appeared he was not a regular gillie, but the son of
the schoolmaster in the village, and was in fact at the
time an undergraduate in one of the Scotch Universities.
i82 A WESTMINSTER PILGRIM
Being home for a short vacation, he had gladly taken
this opportunity of earning a little money to pay his
expenses at college. I felt rather shy at his pulling off
my waders and brogues the next day, but he made no
trouble of it, and continued to wait on us during the
whole of our stay.
This is by no means a solitary case of the kind ;
and it brings to my mind that a friend, an under-
graduate of Oxford, while shooting in Scotland, had
an even more striking experience than mine, for
he discovered among the beaters a scholar of his own
college.
To return to the Coronation. In selecting the music
for the service I finally determined upon a scheme
which would embrace a period of five centuries of
English Church music, from i6th century Marbeck and
Tallis to composers of the present day ; the lyth
century being represented by the honoured names of
Orlando Gibbons and Henry Purcell; the i8th by
Handel, with his masterly Coronation anthem, " Zadok
the Priest ; " and the igth century by Samuel Sebastian
Wesley, Arthur Sullivan, John Stainer, and Charles
Villiers Stanford. In addition to these names special
anthems were composed by Sir Hubert Parry, Sir
Walter Parratt, and by myself.
Among the difficult problems that faced me was how
to include the time-honoured privilege and duty of the
Westminster boys to acclaim the King and Queen
with their " Vivats." The entrance of their Majesties
was to be made to the singing in procession of the
Psalm, " I was glad when they said unto me, we will
go into the house of the Lord," yet it seemed that
traditionally also they were simultaneously to be
greeted with stentorian shouts from the Westminster
scholars of " Vivat Regina Alexandra!" and " Vivat
Rex Edwardus ! "
A STROKE OF GENIUS 183
I could see no better way than to arrange that
these shouts should come in at the moment that
their Majesties passed under the Screen into the
Choir. Sir Hubert Parry most cleverly fitted in the
" Vivats " to a sort of folk-song with an orchestral
symphony between the first and second parts of the
anthem, before the verse beginning " O pray for the
peace of Jerusalem." It was a real stroke of genius,
though I may perhaps claim a little credit for having
suggested this arrangement. But I had a bad quarter
of an hour as the time drew near to begin the choir
rehearsals. The Captain of Westminster School called
on me, and very politely but very seriously said that
he was deputed by the School to represent that they
did not approve of the arrangement, and thought it did
not give due prominence to the ancient right of the
School ! I asked what he proposed. He had nothing
to suggest, but apparently thought that the West-
minster boys might shout their fealty during the
service as and when they thought fit.
I said that such a procedure would produce, to say
the least, a harsh dissonance, as well as cause a terrible
interruption in the music, while being also somewhat
irreverent ; and I pointed out that with the large choir
of nearly five-hundred voices and a full orchestra the
cries of some forty boys from the Triforium would
not be very effective or at all impressive. Further I
called his attention to the fact that by my arrangement
the scholars were allotted a special effect in the
anthem, for which they ought to be grateful, and
indeed ought loyally to strive to make as striking as
possible. Finally I persuaded him to agree to prevail
upon the boys to wait until they had tried their
" Vivats" in rehearsal in the manner suggested.
The rehearsal took place in the Church House, the
Westminster scholars being stationed in the gallery
184 A WESTMINSTER PILGRIM
above the choir. I am glad to say the effect was so
good that their objection vanished, but the incident
gave me some anxious moments for a few days. It is
not pleasant to fight the captain of a public school if
the school is persuaded that you are interfering with
one of its ancient rights.
It is curious that in the official book of the Coronation
sent to me by the Bishop of Winchester there was no
mention of the "Vivats," or of the place where these
shouts should occur. The headmaster of Westminster
kindly sent me the following interesting note on the
matter, showing what was done at the Coronation
of George IV. :
" 19, Dean's Yard,
" April 8th, 1902.
U DEAR SIR FREDERICK BRIDGE, I have some extracts
from letters written by R. N. Gresley, a King's Scholar,
written just before and just after the Coronation of
George IV.
"Writing on June i8th, 1821, just before the
Coronation, he says, ' This time, as the anthem will
not be over when he [the King] comes in, immediately
that it is, we are to sing out as loud as we can " Vivat
Georgius Rex," raising our voices at the end in a
curious way.' Writing on June 2Oth, just after the
Coronation, he says, * When the anthem was over,
Goodenough cleared his voice with a hem, and sang out
melodiously. We then shouted, " Vivat Georgius Rex "
six times, and we shouted and clapped gloriously at the
Recognition and at other times during the ceremony.'
" At that time the organ was at the West end of
the Nave, and the boys were in the front row of the
organ-loft.
" With kind regards,
" Very truly yours,
"J. Gow."
A PLEASANT REVENGE 185
On that occasion, however, as Dr. Gow remarks, a
special organ was erected at the West end, while the
Westminster boys were in the same gallery, and it
would seem that the " Vivats " came after the King and
Queen had taken their seats. I venture to think that
my plan was by far the more reverent and effective.
It is interesting to record that I took my revenge in
pleasant fashion for the momentary opposition of the
School. When the time came for the distribution of
the Coronation medals to the choir and band, the
Westminster boys were also put down as recipients.
I was sent for and interrogated by Sir Frederick
Ponsonby as to their claim to this distinction. " These
medals," said Sir Frederick, " are for the choir and
band ; what have the Westminster scholars to do
with that ? " I produced for him a copy of the
anthem in which the " Vivats " occurred, wherein
the music contained the direction, " King's Scholars
of Westminster School." That settled the question.
Sir Frederick at once acquiesced, the boys got their
medals, while the Captain graciously admitted to
me that I had done the School a service.
In organizing the large choir, I was anxious to
make it very representative, not only of professional
but also of amateur musicians. The complete choirs
of the Chapel Royal, St. Paul's, St. George's, Windsor,
and the Abbey choir formed the backbone of the
choral side, the members constituting this body being
paid a moderate fee. I was also able to extend
this privilege to the complete choir of Rochester
Cathedral, where I was educated. Along with the fore-
going, the Organists and Precentors of the various
Cathedral and Collegiate Churches throughout the
country were invited, a few representatives from each
choir also taking part. To these were added members
of important Church and Chapel choirs, of choral
i86 A WESTMINSTER PILGRIM
societies, and of the old Madrigal Society, also many
well-known amateurs from all over the kingdom,
Ireland not being excluded.
One veteran from Wells had sung at the Coronation
of William IV., being then a choir-boy at Windsor.
Canon Armitage Robinson specially asked me to include
him, and I was glad to admit this vocalist without
trying his voice ! The band included the King's Private
Band (of which Sir Walter Parratt is conductor), also
a good many of the best instrumentalists from the
chief orchestras. All the details of the choir were
most admirably administered by the choir secretary,
Mr. Henry King, the affairs of the band being in
the very capable hands of Dr. John E. Borland. This
gentleman was invaluable, and in the midst of a host
of important duties found time to improvise special
signals to the band and choir in order to insure
complete harmony between the musical programme
and the progress of the ceremony. This proved to
be a piece of foresight most fortunately conceived,
as will be seen later.
It was very necessary carefully to consider the means
available for controlling the very large choir, because
the members were placed in specially erected galleries
North and South of the choir screen, many choristers
being in fact seated behind the organ. At former
Coronations, when, it will be remembered, the choir
was assembled in a gallery at the West end of the
Nave, the voices would have a better chance. The
best arrangement that I could make for the instru-
mentalists was to assemble them on a platform erected
on the choir screen. As thus arranged, the effect of the
combined choral and instrumental forces was really
quite satisfactory.
CHAPTER XV.
Coronation (contd.) Composers and their Contributions Sir Francis
Bertie and Dr. Saint-Satins Rehearsals in the Abbey for the
Processions Postponement of the Coronation King Edward
and the Music at the Postponed Ceremony The " Vivats " at
the Coronation The Procession of the Regalia Trinity College
of Music and Foundation of King Edward Chair.
RECURRING to the Homage anthem which I had
undertaken to set, I found when fairly embarked
upon it that it presented still another difficulty. Of
former Coronations it was recorded that the " Homage "
ceremony had taken a long time, so on this occasion
it was arranged that only representatives of the
various Orders should do Homage, and I was
particularly enjoined not to make the anthem too long.
Accordingly I arranged for a "cut" in the anthem
should it be necessary, and this was carefully arranged
for in the system of signals already referred to.
(In the event, however, as will be seen, no cut was
necessary.)
Applications to take part in the choir or to have
compositions performed were very numerous. As
already stated, the ideal that I set before me was to
hold an even balance between the just claims of
representative musicians, professional and amateur,
throughout the country to take part in the historic
occasion. But some people were not above going
behind my back, and endeavouring to bring pressure
to bear. One great lady wrote to ask that a singer she
was interested in should be included, and because I
did not immediately say " Yes," actually applied to the
highest circles ! This indeed brought forth a letter
commending the applicant to my notice, but it
188 A WESTMINSTER PILGRIM
concluded, " You are in no sense to take this as a
Command, but to do as you like in the matter." I need
not say how much I appreciated this consideration.
A number of composers sent in Marches and all kinds
of music, every item of which was handed to me, one
or two foreign musicians also sending works. Among
the most notable of these was Dr. Saint-Saens, of
whose well-known " Coronation March," and his desire
to have it performed at King Edward's Coronation, I
first heard from Sir Francis Bertie. The Ambassador
wrote to me as follows from the British Embassy at
Paris :
" May 1 6th, 1902.
" DEAR SIR FREDERICK BRIDGE, Lord Lansdowne
desires me to inform you that the French Ambassador
told him on the I4th instant that Monsieur Saint-Saens,
the French composer, who has had the honour of
playing on several occasions before the Queen, has
composed a March in honour of the King's Coronation,
and that he is very anxious that it should be played
during the Coronation festivities.
" Lord Lansdowne told Monsieur Cambon that he felt
sure that the King would appreciate the compliment, and
that he would endeavour to ascertain whether anything
could be done to meet Monsieur Saint-Saens's wishes.
" It has been suggested to Lord Lansdowne that
Monsieur Saint-Saens should be placed in communica-
tion with you, and his Lordship has suggested to the
Ambassador that Monsieur Saint-Saens should apply
to you, and wishes me to ask you to receive him.
" If Lord Lansdowne is mistaken in thinking that
Monsieur Saint-Saens should be referred to you,
perhaps you will be kind enough to let me know to
whom he should apply. Yours truly,
" FRANCIS BERTIE."
A FORTUITOUS COMPOSITION 189
I at once replied that I should be honoured by being
made the recipient of a work by Dr. Saint-Saens, that
he had specially composed for such an occasion. It
was indeed a happy collocation of events that it should
have been possible to include in the musical scheme
a representative work by the doyen of French musicians.
In finding a place in my programme for this March,
I could not of course have foreseen the significance
that its inclusion might have in the larger
question of the rapprochement which so happily and
benefically developed with the great French nation
after King Edward's memorable visit to France in 1903.
Sir Francis Bertie evidently lost no time in handing
my reply to Dr. Saint-Saens, for on the 27th of May I
received the following autograph letter from the French
composer himself:
" 2,jth May, 1902.
" MY DEAR SIR, Very much obliged to you for your
kindness towards my ' Coronation March.'
" Yours very truly,
" And gratefully,
" C. SAINT-SAENS."
Dr. Saint-Saens came over and himself rehearsed
the performance of his March. Unfortunately, how-
ever, he could not come on the postponed date
(August gth, 1902) of the Coronation, and it fell to me
to conduct his work.
Of people who wanted to be present and thought I
could " put them into a corner of the organ-loft," their
name was legion. One lady outdid all by writing that
"her dear mother had never seen a Coronation, and
she would like to give her that treat before she died ! "
It was not only at the Coronation service that such
applications for admission to the Abbey were made.
On all occasions of important special services
igo A WESTMINSTER PILGRIM
notwithstanding notices in the Press that no applica-
tions for tickets should be made to the Abbey officials
every post would bring me many letters. For the
Coronation many begged for tickets for their families ;
the greater number sought that " quiet corner in the
organ-loft," the existence ol which they were appa-
rently persuaded only they had thought of ! My door-bell
became a veritable nuisance, and I remember that once
I had become so desperate that I wrote a large placard
and displayed it on my door, to the effect that " Sir
Frederick Bridge has no Tickets, no Time, and no
Temper! " It was soon surrounded by an amused
crowd, but they ceased to ring my bell !
I have mentioned the rehearsals in Church House.
These afforded occasions for many to hear the
Coronation music who could not attend the Abbey, and
by charging for admission we raised a large sum,
which was distributed among various charities.
Before the choir met to go through the music there
were many rehearsals in the Abbey of various
processions, particularly the great procession from the
West door, which included the King and Queen. I was
very anxious to know exactly how long it would take for
their Majesties to reach the Choir, as the music would
have to be in absolute accord with the progress of the
retinue in order that the " Vivats " should come in at
the proper moment. It proved a difficult detail to
decide. The various officials were not always keenly
alert in their obedience to the Earl-Marshal and his
assistants sometimes they went too fast, sometimes
too slow, and there were some amusing episodes. One
of these, I remember, was when I could not quite make
out the order of the Procession, and called to the Earl-
Marshal from my perch up above, "Which is the King,
your Grace?" "The man with the black cap," said
he. This was dear old Sir Spencer Ponsonby Fane,
THE VACUUM CLEANER igi
with whom I had so much to do in the organiza-
tion of the Jubilee Service in 1887. He quite enjoyed
taking part, and represented the King on several
occasions in the procession, his long train being
carried by the pages in regal state. Occasionally he
would wear a little skull cap, as stated above.
A really funny incident which occurred during the
Coronation rehearsals must not be omitted. Two
ladies were standing in the Cloisters talking, when
a sound from the Abbey arrested their attention.
"Listen," said one, "that's Sir Walter Parratt at
the organ." "Oh, no," said her friend, "that's not
Sir Walter he can't play like that ! It's Sir Frederick
Bridge." Unfortunately it was not the sound of the
organ, but the noise made by a vacuum cleaner !
The great national sorrow and apprehension at the
postponement of the Coronation, caused by King
Edward's illness, is well known. None of the
company assembled in the Abbey when the announce-
ment was made will ever forget the shock ! Choir and
band were all in their places on the day before that
fixed for the ceremony. I was rehearsing some of the
orchestral pieces, when a message reached me from
Lord Esher, asking me to come and speak to him.
I relinquished the conductorship to Sir Walter
Parratt, and went down I must confess rather
reluctantly for I had no premonition of what was
coming. To my intense dismay Lord Esher said, " I
am very sorry, you must send your forces away ; there
will be no Coronation to-morrow." And he proceeded
to tell me why. For the moment I was stunned
and overcome, but returning to my place I stopped
the proceedings, and made the sad announcement.
It was received with an impressive silence, and
then, in obedience to someone's well-timed suggestion,
which found a response in all present, we sang the Litany
ig2 A WESTMINSTER PILGRIM
and a hymn. Then, after some intercessory prayers for
the King's recovery, we all separated. I remember
saying to the choir and band, as they dispersed, " I
hope we shall soon meet here again " an optimistic
sentiment that, much as it was borne out by the event,
I fear at the moment found small response in my
own breast, for truly it seemed to me just then that all
the labour, all the care, all the anxiety, all the devotion
had been in vain. It speaks well for the patriotic zeal
of the musical forces that although many members came
from distant parts of the country, yet, when the
Coronation did take place, only about a dozen were
found to be absent.
As soon as it was happily found possible to fix the
new date for the ceremony the Bishop of Winchester
again impressed upon me the necessity for as much
brevity as I could consistently introduce into the music.
And here I may perhaps relate a gracious act on the
part of King Edward, and refer to a very kind action of
Lord Esher. I told the latter that I was going still
further to curtail my anthem, and he said, " The King
does not want the music cut if it can be avoided."
"Well," I answered, "I dare not do otherwise now,
unless I am directed to have it all sung." In a day or
two Lord Esher sent me the following note :
" Delahay Street,
" Westminster,
" August 8th, 1902.
" MY DEAR SIR FREDERICK, The King was most
explicit in declaring his Command that there should
be no curtailment of the musical part of the service.
So please do not cut out anything from the anthem.
" Yours sincerely,
" ESHER."
It was arranged that the Litany should be sung
before the actual service (see page 194), and I provided
SIR FREDERICK BRIDGE IN HIS DOCTOR'S ROBES.
(From a photographlby Sir Benjamin' Stone.)
A CRITICAL MOMENT 193
a "cut" in the "Homage" anthem should it be
required, also promising the Bishop of Winchester to let
him know exactly how long the various musical items
would take to perform. I am glad to be able to record
that he told me after the event that I had proved
absolutely correct in these details.
At the postponed Coronation all went well, the
Litany being sung early in the proceedings on the steps
of Henry VII. 's Chapel by the Bishop of Oxford and
the Bishop of Bath and Wells. I had the honour of
rehearsing these two distinguished pupils, and they
each accepted a Book of the Music from me as a
reward for their keen attention to their studies !
The Processional anthem "I was glad" made a
splendid effect, the Westminster boys' " Vivats "
coming in with superb effect. And they had an extra
chance also, for in consequence of His Majesty the
King not entering the Choir until some time after Her
Majesty the Queen, the " Vivats " had to be repeated.
It was here that the value of Dr. Borland's system of
signals, already referred to, was fully revealed, and my
precaution in adopting them amply vindicated. The
signals to the choir and band worked admirably, and
I must add that Dr. Alcock (now organist of Salisbury
Cathedral) at the organ extemporised so effectively
that the whole affair, which might have proved an
awkward moment if not a catastrophe, passed off as if
it had been rehearsed as a part of the programme.
Sir Walter Pariatt sat on the conductor's platform
with me, taking his share in conducting the orchestral
music and directing the performance of his own anthem.
Concerning my Homage anthem no cut was
necessary. The aged Archbishop Temple was a little
slower over the ' 4 Homage " than we had anticipated,
the music in its entirety being required to accompany
this picturesque function.
194 A WESTMINSTER PILGRIM
A striking feature of the ceremony was the Procession
of the Regalia, which formed an early and interesting
item in the day's proceedings. The Abbey clergy
charged to bear the regal symbols from the Jerusalem
Chamber into the Church were accompanied in pro-
cession by the choir. Traversing the Cloisters, singing
the hymn " Rejoice to day with one accord," to the
grand old tune " Ein' feste Burg," a pause was made
for a short service in Edward the Confessor's Chapel,
and another pause near the Chapel of Henry VII.,
while Tallis's Litany was sung as above described ;
then, supported by two trumpets and three trombones,
the procession was resumed, to the strains of " O God,
our help in ages past." At the last verse, as the singers
comprising the choirs of the Abbey and the Chapel
Royal neand the great West door, the hymn was taken
up by the Coronation choir and the vast congregation,
producing an unrehearsed climax of overwhelming
majesty that will never be forgotten by those present.
I left for m/ usual holiday in Scotland as soon as
the Coronation was over, and a few days later received
the gratifying intelligence that King Edward had been
pleased to confer upon me the Fourth Class of the
Royal Victorian Order.
The prolonged anxiety I had almost uninterruptedly
sustained in connection with directing the Coronation
proceedings from early in the year till the consummation
in August, had some effect on my usual good health.
I developed a bad attack of neuritis in my left arm
which caused me much pain, making it necessary for
me to seek medical advice. I did not quite get over
it for some months, when it yielded to treatment, and
I am thankful to say it has never returned.
And so ends the account of my participation in this
great event. I am proud that it should have fallen to
me to fill the office of chief musician, and am indeed
KING EDWARD PROFESSOR 195
grateful to all who assisted in making the event so
impressive a musical ceremony and so worthy the
occasion. Specially must I mention the late Sir
George Martin, of St. Paul's, and my brother, Professor
J. C. Bridge, Mus. Doc., of Chester Cathedral. They
were most efficient sub-conductors, conveying my beat
to members of the choir, many of whom, as I have said,
being placed behind the organ, were unable to see and
to follow the conductor-in-chief.
The whole Book of the Service was published by
Messrs. Novello, with a beautiful cover designed by
Mr. John Clayton, the celebrated stained-glass expert.
It was a great help to have all the music and the
service assembled in one book, which thus preserves a
valuable record for all future chief-musicians on similar
occasions.
In the Coronation year(igo2) Trinity College of Music
devoted 5,000 to the endowment of a Chair of Music
in the University of London. It was given " in honour
of the Coronation of His Majesty King Edward VII.,"
and the King graciously allowed the Chair to be called
the " King Edward VII. Professorship of Music,"
the University doing me the honour of electing me
the first King Edward Professor. I have been
re-elected at various times, the last occasion having
been during the present year (1918).
CHAPTER XVI.
Interesting Details of the Musical Arrangements at Previous
Coronations Meagre Choral Force at Coronation of William IV.
- Letters of Sir George Smart Braham and Balfe Old
Members of the Coronation Choir at Windsor Goss as a Lay-
Vicar i8th Century Coronation Music.
IT may afford interest to give some particulars of
the musical arrangements at the two Coronations
preceding that of King Edward. I am enabled to do
so from the fact that, by the kindness of Miss Smart,
I became possessed of some valuable papers of her
father's, Sir George Smart, Director of the Music on
those occasions.
The choral force at the Coronation of William IV.
was very meagre, consisting only of the choirs of the
Chapel Royal, St. Paul's, Windsor,* and Westminster,
with the addition of twenty-one choral singers. There
were only eight boys and six Lay- Vicars from St.
Paul's, and eight boys, three Lay- Vicars, and the
organist from Windsor. The Priests and Minor Canons
of the Chapel Royal and of Westminster Abbey were
also in the choir gallery, I suppose helping in the
choruses. Among those present in the choir gallery
(as one of the Priests of the Chapel Royal and
Minor Canon of St. Paul's) was the Rev. R. H. Barham,
the author of the " Ingoldsby Legends," whom later
we find attending at the Coronation of Queen Victoria.
His amusing poem entitled " Mr. Barney Maguire's
* It is curious that in suggesting the choirs of St. Paul's and Windsor,
Sir George Smart adds, " not employed at the last Coronation."
BRAHAM IN THE CHORUS 197
Account of the Coronation '' is well known. One
verse particularly alludes to Sir George Smart and
his band :
Then the Queen, Heaven bless her ! och, they did dress her
In her purple garments and goulden crown :
Like Venus or Hebe, or the Queen of Sheby
With eight young ladies houlding up her gown.
Sure 'twas grand to see her, also for to he-ar
The big drum bating, and the trumpets blow,
And Sir George Smart ! oh ! he played a consairto
With four-and-twenty fiddlers all on a row !
The effect of the small body of singers referred to
must have been very poor, and indeed this is admitted
by Sir George in a letter that he addressed to the
Lord Chamberlain's Office, dated April 26th, 1838,
which contained an estimate for the Coronation of
Queen Victoria. In it he states that the Bishop of
London had written to the effect that " At the last
Coronation the choir was by no means sufficiently
powerful, it ought certainly to be increased at the
approaching solemnity." The Bishop also said that
he could " see no other mode of doing this effectively
than by engaging the services of some of our best
English singers and of a certain number of chorus
singers in addition to the members of the four choirs."
In this opinion Sir George concurred, and asked to be
allowed to engage at least fifty more singers. In the
end the vocal and instrumental body was increased to
about four hundred performers, but at a considerable
expense. Thus we find Braham was paid a fee of
twenty guineas (only to sing in the chorus!), and Henry
Phillips, a popular bass, fifteen guineas. An engage-
ment was offered to Balfe (the celebrated operatic
composer), the fee to be ten guineas, but, says
Sir George, "he returned no answer to the
application."
ig8 A WESTMINSTER PILGRIM
In another letter to the Lord Chamberlain's office in
July, 1838, enclosing his account for the expenses of the
Coronation of Queen Victoria, Sir George explains that
at the Coronation of William IV., in 1831, " he had the
honour to hold both the offices of Director of the Music,
by command of his late Majesty, and Organist (as filling
that situation in the Chapel Royal) by the appointment
of the Bishop of London." Sir George goes on to say
that " the two offices are distinct, though capable of
being filled by one individual." In old days the con-
ductor generally sat at the organ or harpsichord, and
so conducted and played at the same time, but this
method of conducting has long since fallen into disuse.
These statements seem to dispose of the legend
that the organist of the Chapel Royal is by virtue
of his office Director of the Music at Coronations.
It appears, however, that Sir George Smart thought
he was entitled to be Organist (not Director), and was
appointed to this post by the Bishop of London. A
curious claim he made was allowed by the authorities at
both Coronations, viz., a fee of ^300 "in lieu of the
Organ," the Coronation instrument having apparently
been recognised as the organist's perquisite. At any
rate this claim was also allowed at the Coronation of
George IV. The organ referred to in Smart's claim
was not the Abbey organ, but one that was specially
erected for the occasion at the West end of the
Nave. It was an expensive item, involving the cost
of taking down the Abbey organ and erecting the new
one. This extravagance was avoided at the Coronation
of Queen Victoria, and part of the Abbey organ was
utilised, at a cost of ^50. I need say that no great
expenditure on the organ was incurred at the
Coronation of King Edward VII., and Dr. Alcock, the
organist, certainly did not get 300 in lieu of the
instrument upon which he performed.
EVIL OF PLURALITIES 199
Among the ladies who were engaged and paid to
assist (thirty-three in number) we find the names of
Miss Birch, Miss Dolby, Madame Anne Bishop
(wife of Sir Henry Bishop), Mrs. M. Hawes, and
Miss Rainforth,* all distinguished singers. Among the
choral singers (who were not paid) are the names of
W. Horsley, G. Hogarth, Moscheles, J. Parry, sen.,
J. Parry, jun., and T. Oliphant. Dr. Camidge, of York
Minster, Mr. Arnott, organist of Gloucester Cathedral,
and Mr. Jones, of Canterbury Cathedral v the Mr. Jones
who was umpire when I competed for Faversham
Church in 1865) were also present. Altogether the
choir was much more representative than in 1831, and
no doubt the effect of the music was greatly improved
by the very large addition to the number of singers, f
An extraordinary point in connection with the choir
at the Coronation of William IV. must be mentioned.
It was a time when pluralities existed in all ranks of
the Church, this evil being rampant in the three
important choirs of the Chapel Royal, St. Paul's, and
Westminster Abbey. Instead of these being separate
bodies of highly-trained singers, as a matter of fact
there was only one complete choir, viz., that of the
Chapel Royal. Many of the Gentlemen of the Chapel
were also Lay- Vicars of St. Paul's or Westminster,
and in some cases belonged to all three choirs !
* It is interesting to see among the members of the choir at the
Coronation of Queen Victoria the names of Miss Rainforth and
Mr. J. Bennett. Both were well-known vocalists, and curiously enough
I met them whilst holding my appointment at Windsor. Mr. Bennett
came to some of the concerts I conducted, and entertained me to luncheon
more than once. Miss Rainforth lived in the neighbourhood; I think
I came to know her at the Oliphants'. The prominent and interesting
positions they had held were unknown to me, nor did they ever discuss
the Coronation with me. Had I known their history, and could I have
foreseen that I should come to direct the music of the Coronation
ceremony, I should certainly have made some inquiries.
t I may add that at the Coronations at which I have been Director
of the Music, the band and chorus on both occasions numbered over
five hundred. Taking into account the enormous number of people who
attended, this was by no means too great a musical force.
200 A WESTMINSTER PILGRIM
In the list of those who attended for the Chapel
Royal .fifteen names are given, but two of these were
represented by deputies, one of whom was the well-
known German organist and composer, the Chevalier
Neukomm. The whole of the Lay- Vicars of West-
minster Abbey were represented by deputies, and the
same is to be said of St. Paul's. Windsor set a good
example, as no deputy appears in their list, but it was
only a small body of four boys and four Lay-Vicars,
the latter including the organist.
Matters were no better at the Coronation of Queen
Victoria. Of the Abbey staff only one Lay- Vicar
attended " personally," the others being all represented
by deputies. James Turle, the organist, appears among
the Lay-Vicars, and he is mentioned as attending
personally, while his son, Robert Turle, is in the list
as representing his father in his other office of Master
of the Choristers. All the St. Paul's men sent
deputies, John Goss, the organist, alone attending (as a
Lay-Vicar) personally.
From this it will easily be seen that the " four
choirs" which were supposed to form the real backbone
of the choral force on the two great occasions of the
Coronations of William IV. and Queen Victoria, were
somewhat phantom-like in character, and the deputies
were probably in many cases not very valuable
substitutes.
The venal system that permitted men to hold
simultaneously three similar places in three different
choirs was no doubt the main cause of the very
unsatisfactory state of the choral services in St. Paul's
and Westminster Abbey up till late in the igth century.
All this is now happily changed for the better.
No particulars are preserved in Sir George Smart's
papers of the music performed at the Coronations
which he directed. We know that Attwood wrote an
i8TH CENTURY CORONATION MUSIC 201
anthem, " I was glad," for the Coronation of George IV.,
and also one for the Coronation of William IV. But
he did not live to contribute anything to the music
for the Coronation of Queen Victoria. The length
of the music at some of the former Coronations was
extraordinary. Among the papers from which I have
been quoting is a complete list of the anthems sung
at the Coronation of King George II. and Queen
Caroline. There were no less than six long com-
positions besides various Psalms to be chanted and
the Veni Creator. The Litany and the Creed were
read, but the Sanctus and Gloria in Excelsis were
sung. It must have been a ceremony of prodigious
length.
CHAPTER XVII.
The Bi -Centenary of the Death of Samuel Pepys Foundation of
the Pepys Club Funeral Service for the Duke of Cambridge
Memorial Service for the Marquess of Salisbury Editorship
of the Methodist Hymn-Book Handel and Water Speech
at the Sheffield Conference Some Native Humour.
IN 1903, being asked to give a course of lectures
at the Royal Institution, I thought it would be
advantageous to direct attention to the musical
references in Pepys' " Diary," this subject being
particularly appropriate as the year was the bi-centenary
of the death of Samuel Pepys. These lectures attracted
some attention, and were the means of enabling me to
form a friendship with Dr. Wheatley, the editor of the
large edition of the " Diary."
It is interesting to trace the connection of Pepys
with Westminster Abbey. He was acquainted with
Purcell's father, but as Henry Purcell was only eleven
years of age when the Diary closed, his name does not
appear. The fact that a copy of Purcell's Sonatas,
published by subscription in 1683, is in the Pepys
Library at Cambridge, shows that Pepys appreciated
the genius who was then the organist of the Abbey.
He mentions meeting Dr. Gibbons, who was organist
in 1660, and going with him to " see an organ at
the Dean of Westminster's lodgings at the Abby,
the Bishop of Rochester's." He also visited the
Cathedral of Rochester. In April, 1661, he says:
" Then to Rochester, and there saw the Cathedrall,
which is now fitting for use [i.e., after the interregnum]
and the organ then a-tuning."
PEPYS' SONG, "BEAUTY RETIRE" 203
Pepys actually once "went in among the quire of the
Abby and there sang with them their service." He
was not very complimentary concerning the Abbey on
another occasion, for he says he heard the service .read
"very ridiculously"; but this may refer to the clergy and
not to the choir. He was more explicit about St. Paul's :
"Both before and after sermon I was most impatiently
troubled at the Quire, the worst that ever I heard."
He was one of the " Bannerolles " at the funeral of
his patron, the Earl of Sandwich, who was interred in
the North Aisle of Henry VII. 's Chapel in 1632,
after having been blown up with his ship at the
great battle against the Dutch Fleet in Solebay (off
Southwold).
I was able to correct a little error of Dr. Wheatley's
in connection with Pepys' song, " Beauty retire."
Of this song there are two settings in the Pepys
Library. (I quote from my book, " Samuel Pepys,
Lover of Musique ") : " They are not altogether
unlike each other, the key being the same, and the
rhythm very similar. But one (printed in Dr. Wheatley's
edition, and assigned by him to Pepys) occurs in a
collection by an Italian, Signor Morelli. This is
described by Pepys as being a collection of 'Songs and
other Compositions, Light, Grave, and Sacred, for a
single voice, adjusted to the particular compass of mine,
with a Th. Bass on ye Guitar by Cesare Morelli.' It
is possible that this was an amplification of the
original setting, made by Morelli, who lived with
Pepys and assisted him in his music some years after
the period of the Diary, as he states later.
" But whether this version be Morelli's or not, it is
certain that to the other we must look for Pepys'
composition. The proof of this lies in the fact that
the portrait of Pepys by Hayles in the National Portrait
Gallery shows the first few bars of * Beauty retire.'
204 A WESTMINSTER PILGRIM
He is holding the composition in his hand, and the
music can be plainly read. Now this setting is not
the one we have ascribed to Morelli, but the other.
It is true that in the picture the key is different. This
may, however, be the original key, and would be
suitable to a woman's voice, for instance Knipp's,
while the setting in the MS. would be as Mr. Pepys
himself sang it. There can be little doubt that
Pepys' version came first, and that the other is much
later, for Cesare Morelli belongs altogether to the
later part of the diarist's musical life, and is never
even mentioned in the Diary itself."
I take a little credit for finding out which was the
authentic version of the song. Observing that in the
Diary, on April nth, 1666, Pepys says : " To Hales's,
where there was nothing to be done more to my picture,
but the musique, which now pleases me mightily, it being
painted true" (the italics are mine), it struck me that
the last few words pointed to the fact somewhat
unusual in pictorial art that the music was a repro-
duction of "true" music, and not a few dots and
dashes. I went to the National Portrait Gallery,
taking with me a large magnifying glass, with which
I closely inspected the scroll that Pepys holds in his
hand, and was gratified to find that represented thereon,
and "painted true," were the first four bars of " Beauty
retire." This is the song given in my little book, and
not the version of Dr. Wheatley.
An attendant at the Gallery regarded my movements
with very great suspicion, but I quickly dispelled his
fears by explaining my object.
With Dr. Wheatley I went down to Cambridge to
spend a few hours in the Pepys Library at Magdalene,
while there being fortunate enough to find among
the MSS. a very interesting setting of the celebrated
soliloquy in " Hamlet." Who composed the music is,
THE PEPYS CLUB 205
unfortunately, not known, but it is a fine and very
remarkable work, and as it was certainly written within
fifty or sixty years of Shakespeare's time is of supreme
interest. The music may be by Matthew Locke (who
was a friend of Pepys), or it may be by Purcell, who
lived and died during Pepys' time. I have often had
it performed at my lectures, and many lovers of
Shakespeare agree that it brings out the splendid words
in a manner that is extremely striking and impressive.
At Dr. Wheatley's suggestion and with the help of a
few other Pepys lovers and myself the " Samuel Pepys
Club " was formed. It has had a singular success, the
papers read at its meetings having contributed much
to establish the fame of Pepys upon a right basis. It
has fallen to me, as a rule, to contribute the musical
items, while I have been fortunate in unearthing
some real musical treasures from the Pepys Library
and elsewhere.
In 1914 the Club presented me with a beautiful
copy of the rosewater dish* given by Pepys to the
Clothworkers' Company. On the death of Dr. Wheatley
the members further honoured me by electing me their
President.
The rosewater dish bears the following inscription :
Presented to
SIR FREDERICK BRIDGE, C.V.O., Mus. D.,
by Members of the
SAMUEL PEPYS CLUB
as a mark of their high esteem and appreciation
of his unwearied labours for the success
of the Club and his brilliant presentment
of ever fresh and varied music redolent
of the
PEPYS PERIOD.
* " Let one attend him with a silver ba=in,
Full of rose-wa.er, and bestrew'd with flowers."
44 Taming of the Shrew," Induct., Sc. i.
206 A WESTMINSTER PILGRIM
Recurring to my chronicle of events at the Abbey,
in March this year (1903) we had the funeral of Dean
Bradley (see page 177), who succeeded Dean Stanley,
and had ruled over the Abbey for some twenty-one
years. My relations with Dean Bradley were invariably
most cordial, and on the rare occasions when a special
difficulty arose, he was always kind and ready to devise
means to make matters go smoothly.
In 1904 the funeral service for H.R.H. the Duke of
Cambridge was held, attended by King Edward
and Queen Alexandra. We had Sullivan's setting of
" Onward, Christian Soldiers," and I remember seeing
the King singing in the manly, hearty fashion
that was so characteristic of him, as he stood forth
prominently in his place near the bier. My mind
went back to my boyhood days ; again I heard the
stirring tale of that grim fight on Guy Fawkes' day,
sixty-five years ago, when
. . . all day long the noise of battle roll'd
Among the mountains by the winter sea,
and every man in the thin British ranks bore himself
as a paladin, not least him who now brought
into the Abbey on his way to his last resting
place had so gallantly maintained himself amid
the carnage near the two-gun battery. The Dean
afterwards told me that His Majesty had expressed his
great satisfaction with the conduct of the service, and
the manner in which it was rendered.
In August there was a Memorial Service for the
Marquess of Salisbury,* the great statesman whose
sometimes caustic speech and bitter sarcasm veiled
a fine chivalry as who does not know who saw him
as a pall-bearer at the burial of his formidable political
* This service happening to fall during my absence in Scotland, it was
directed by Dr. W. G. Alcock, organist and composer to the Chapel Royal
and official assistant-organist at the Abbey.
WESLEYAN HYMN-BOOK 207
adversary, Gladstone ? It was on Lord Salisbury's
recommendation that Queen Victoria conferred upon
me the honour of knighthood. Although not buried at
Westminster, a fittingly imposing memorial to him
is preserved there in the splendid monument by
Sir Goscombe John. This is also one of the few
monuments erected in the Abbey of late years that is
not an eyesore.
In 1904 I was asked to undertake the editorship of
the "Methodist Hymn-Book, " the "lineal descendant,"
to quote from the Preface, " of the volume so long
known as ' Wesley's Hymns,' . . . after a lapse of a
hundred and twenty-five years." It was rather surprising
that, strict Churchman as I might well have been deemed
to be, I should be approached by the Wesleyan body
with a view to enlisting my services as musical editor
of their tune-book, seeing that there were so many
good musicians within the Wesleyan Communion.
But I felt a lively interest in the work, arduous though
it promised to be, and entertain some pardonable
gratification that the Committee of Revision should
have sought me to collaborate with them. Several
reasons also operated in prompting me to accept this
office, e.g., because I have a sound respect for John
Wesley for his inspiring work that rattled the dry bones
of the moribund Church of his day, and also for
Charles Wesley, his brother, whose magnificent
hymns are a priceless heritage throughout Christendom.
Perhaps also I was a little "extra pleased " on account
of having been left out of the Musical Committee which
had been nominated to revise our own book of " Hymns
Ancient and Modern." I confess to having felt this
exclusion, as I had contributed a very popular tune to
the original edition (" The Sower went forth sowing ").
So I embarked upon the task, and a very pleasant one it
proved to be. There was a large Committee of
208 A WESTMINSTER PILGRIM
ministers and musical laymen. I had no voice in
selecting the hymns, but the tunes although as a rule
selected by the Committee were submitted for my
approval. Of course there were many old Methodist
tunes that were dear to the Wesleyans, and which,
although not of a very high class, had of necessity to
be included. This on one occasion led to an amusing
episode. A tune adapted from Handel was submitted
to me. It was a bad adaptation, and really, as I said,
" Handel and water." I wrote on the MS., " I can't
admit this. If it is ever sung in the Wesleyan Church
House [then being erected near the Abbey] it will make
Handel turn in his grave " ! The Committee returned
the MS., and said they " hoped Sir Frederick would
reconsider his verdict," as the tune was "very dear"
to some of their " friends in the North." (This was
said more than once, and later I began to feel a strong
aversion for those "friends in the North"!) The
Committee added to their communication : " If it
is ever sung in the Wesleyan Church House it
shall be sung pianissimo, so as not to disturb Handel
in the Abbey." There was nothing for it but to give
way, which I did, after stipulating that I should bale
out some of the water. Curiously enough, after the book
appeared a little note reached me at my Scotch home
from a fisherman who lived on the Aberdeenshire coast.
He complained that this tune and a few others were
quite spoiled ! I replied that he was perhaps a better
fisherman than musician, and added, u I will make
a bargain with you. If you will let some of those
salmon pass your nets and come into my river I will,
when a new edition appears, see what can be done to
set things right! "
The book when at length it appeared was well
received. I was invited to go to Sheffield and speak
about it, and of my part in it, at the great Wesleyan
U u
f ( '~
A STORY OF JOHN WESLEY 209
Conference there. About three thousand ministers
were present, and I was very anxious to recommend
the book and to justify my editorship. I began by
saying that no doubt many of them wondered why I
was selected for the task, and not a prominent Wesleyan,
but ventured to plead that perhaps I had an accumulated
experience that after all was not a bad qualification.
And then I told them of a fact about John Wesley
which probably few knew. This I learned from a
remarkable book which I had lately read with extreme
delight, "The Psalms in Human Life," by R. E.Prothero
(now Lord Ernie, and a prominent member of the
Government as Minister for Agriculture). In this
book he tells us that John Wesley was greatly influenced
by hearing the anthem " Out of the deep," sung at
St. Paul's Cathedral on the day of his " conversion.*'
I asked my hearers, " Who composed this anthem
which had such an influence upon Wesley ? ' and
answered, " It could have been no other than
the setting which we all know, by Henry Purcell,
who was the greatest organist of Westminster Abbey.
As one Abbey organist had helped Wesley, so
I hoped another Abbey organist might help the
Wesleyans." I went on to point out that one of the
monuments best seen from the Abbey organ-loft
was that erected to John and Charles Wesley,
adding that I often thought to myself, when engaged
on this book, " You must mind what you are about
John and Charles have their eyes upon you ! " But
I think that probably my best point was the declara-
tion that as my own people would not accept my
help in the revision of " Hymns Ancient and Modern,"
I felt free to do what I could for the Wesleyans,
following the example of St. Paul, who, when the Jews
would not hear him, turned to the Gentiles. I con-
cluded by speaking of the help afforded by my
210 A WESTMINSTER PILGRIM
cook, who was a Wesleyan, and to whom I often
appealed to ascertain from her special knowledge
if a particular tune was popular. " Oh, yes," she
once said, in reply to one of my queries, in the hearing
of a member of the Committee, " we sing that in our
chapel very often," and she piped a few bars of it up
the lift, at the bottom of which she was standing. This
brought down the house, and my cook was presented
by the Committee with a special copy in recognition of
her valuable services to the book and to me.
I have very often been invited to lecture on this
Hymn-Book and its tunes in various chapels all over
the country, on these occasions always trying to
imbue my audience with a love for its best tunes, and
being gratified at finding that as a rule they regarded
the collection as a valuable possession. It has been
interesting to go to some of these places and to find,
perhaps, that the conductor was just a working man
often a collier and how much trouble and care he
had taken in the preparation of the music to illustrate
the lecture. The Wesleyans use their chapels as
lecture-halls, and humour not being forbidden, I have
generally been asked to tell the story of the assistance I
derived from my cook ! Sometimes there would a
good story from the collier-conductor. One, I remember,
on a special occasion not a lecture was told after I
had played an organ solo. It was delivered heartily, in
native Doric, which I do not entirely reproduce, and
ran : " We all hope when Sir Frederick retires that
he'll come and live down here. This is a nice place,
no one ever dies here ! Why, our local doctor at the
council the other day said the death-rate was only
9 pint 9. One of our councillors got up and said,
'I dunno' what "9 pint 9" means.' 'Sit thee doon,'
said another, ' and I'll tell thee. " 9 pint 9 " means nine
of 'em are dead and nine on the pint o' dying.' " !
SOME NATIVE HUMOUR 211
Another story coming from a similar quarter may
also be told. An addition to the churchyard was to be
made, and in the Parish Council a speaker proposed
that they should get the Bishop of Lichneld to come
and consecrate it. This did not please all the
members, one of whom remarked, "I dunna' agree to
that. We've got plenty of good workmen as 'ud
concrete that there churchyard just as well as the
Bishop of Lichneld."
CHAPTER XVIII.
Memorial Service to Christian IX. of Denmark Thanksgiving
Service for Safe Return of Prince and Princess of Wales from
India Orlando Gibbons Commemoration Lecture Tour in
Canada Dr. Vogt and the Mendelssohn Choir Meeting with
Sir Robert Borden and Sir Wilfrid Laurier.
IN 1906 a memorial service for Christian IX., King of
Denmark, was held in the Abbey. In connection with
this event my mind went back to the joyous day in my
youth, when we had a holiday, and journeyed over to
Gravesend from Rochester to greet the Princess
Alexandra (the Queen Mother) when she landed in
England before her marriage with the Prince of Wales
(see page 16). In the unfolding of the years it had
fallen to the boy who cheered the beautiful princess
so long ago, to direct the solemn service in memory
of her father. Christian IX., it may be remarked,
descended from George II. of England.
Later in the same year a service of thanksgiving
was held for the safe return of the Prince and Princess oi
Wales after their long absence in India. This service
was attended in State by the King and Royal Family.
On June 5, 1907, the anniversary of his death, we com-
memorated one of the greatest of English musicians,
Orlando Gibbons. After Purcell, Gibbons holds undis-
puted pride of place as the next most distinguished
of Abbey organists, yet, curiously enough, he had no
monument in the Abbey. The chief reason for this
neglect was that he died at Canterbury, whither he had
gone, in 1625, to attend the wedding of Charles I.
(see page 38). Gibbons was buried in Canterbury
Cathedral, where a fine memorial was erected to
him. But I thought he really belonged to us at the
GIBBONS COMMEMORATION 213
Abbey, and that we ought to have our own memorial
to him there. This commemoration provided the
opportunity. Organized by Mr. Henry King,* a choir
of three hundred voices was assembled, comprising the
members of the Abbey choir and representatives from
St. Paul's Cathedral, Canterbury Cathedral, Christ
Church, Oxford, the Chapel Royal, St. George's
Chapel, Windsor, and several well-known churches.
In addition to the organ, a stringed orchestra of
twenty-nine performers provided the accompaniments,
among the violinists being a cathedral organist
Mr. Hubert Hunt, of Bristol.
The service, in the form of Evensong, was held
in the Nave, and we performed some of Gibbons'
best anthems. For one of the special Psalms (the
84th) I adapted a double-chant from Gibbons' well-
known madrigal, " The Silver Swan." The Worshipful
Company of Musicians attended in large numbers
in their furred gowns, the graduates among them
wearing the hoods of their several degrees. Thus a
touch of colour was imparted to the mass of the
large congregation assembled.
Gibbons was born at Cambridge in 1583, and entered
the choir of King's College in 1596, where his elder
brother was organist and master of the choristers. He
was appointed organist of the Chapel Royal in London
in 1604, and became organist of the Abbey in 1623.
By the generosity of a past-Master of the Musicians'
Company, the late C. T. D. Crews, a splendid replica
of the Canterbury bust, in black marble, was erected
close to the grave of Henry Purcell. Mr. Crews
also defrayed the expenses incurred in holding the
commemoration.
* Mr, Henry King also organized the choirs and discharged the duties
of choir secretary on the occasion of the Jubilee celebration and the
Coronations of King Edward and King George V.
214
A WESTMINSTER PILGRIM
An interesting discovery in the Muniment Room
brought to light a letter (the only one in existence, it is
believed) from Orlando Gibbons to the Treasurer of
the Abbey, of which the following is a (reduced)
facsimile* :
*-&_ * -
The above fragment was discovered by Miss Joan
Thynne (now Countess Cawdor) when helping me to
search the records for Purcell lore.
An interesting account of Gibbons playing the organ
and directing the choir in Westminster Abbey is given
in the " Life of Archbishop Williams," sometime Lord
Keeper of the Great Seal.
* The items set out in the first part of the facsimile are presumably in
the handwriting of John Burrard, whose signature is subscribed against
Gibbons' endorsement. The latter runs :
" Mr. Ireland : I know this bill to be very resonable for I haue
alredy cut him off ten shillings therfore I pray despathe him, for he
hath delt honestly wth ye church soe shall I rest yr servant,
ORLANDO GIBBONS."
The bill (dated 1625) is for repairs to the Dallam organ described by
Dart as "a stately organ gilt" that was probably played upon by
Gibbons, Purcell, and Croft.
RECITAL BY ORLANDO GIBBONS 215
By command of the King, a supper was given in
the Jerusalem Chamber, to the French Ambassadors
who came over to arrange the marriage of the
Prince of Wales (afterwards Charles I.) to the French
Princess Henrietta Maria. But before the supper (as
Bishop Racket, of Lichfield) describes :
" The Embassadors, with the Nobles and
Gentlemen in their Company, were brought in at
the North-gate of the Abby, which was stuck
with Flambeaux everywhere, both within and
without the Quire, that strangers might cast their
Eyes upon the stateliness of the Church. At the
Door of the Quire the Lord Keeper besought their
Lordships to go in, and to take their seats there
for a while, promising in the Word of a Bishop
that nothing of ill Rellish should be offered before
them ; which they accepted ; and at their Entrance
the Organ was touch'd by the best Finger of that
Age, Mr. Orlando Gibbons. While a verse was
plaid, the Lord Keeper presented the Embassadors
and the rest of the Noblest Quality of their Nation
with our Liturgy, as it spake to them in their own
Language ; and in the Delivery of it used those
few Words, but pithy, That their Lordships at
Leisure might Read in that Book in what Form
of Holiness our Prince worshipp'd God ; wherein
he durst say nothing savour'd of any Corruption
of Doctrine, much less of Heresie ; which he hoped
would be so reported to the Lady Princess
Henrietta. The Lord Embassadors and their
Great Train took up all the Stalls, where they
continued about half an hour, while the Quiremen,
vested in their Rich Copes, with their Choristers,
sang three several Anthems with most exquisite
Voices before them."
216 A WESTMINSTER PILGRIM
In April, 1908, there was held the funeral service for
Sir Henry Campbell-Bannerman. Truly a chivalrous
soul was mourned in the passing of "C. B.," as he was
affectionately known to political friends and opponents.
Shortly after directing this event I left England
(on the 28th of the same month) en route for Canada,
having been invited to go to the Dominion to give a
series of lectures on English Cathedral Music. The
tour and all the arrangements connected therewith had
been organized by my friend Dr. Charles Harriss, of
Ottawa, a musician of ample means and high ideals.
It was a delightful experience, and I enjoyed every
moment of my time.
The outward journey was made very pleasant by the
companionship of Mr. Dalton Baker, an excellent
baritone who has often sung for me at the Albert Hall.
We were a cheerful party on board, and certainly free
from any worry about submarines, although there was
a danger awaiting us that proved to be somewhat
disquieting when it came : I refer to the fogs off the
Banks of Newfoundland. It was very interesting to
me to observe the watchful care of the navigating staff
as we drew near to this area. An officer told me late
one night that he did not like the look of things, and
sure enough the next morning we came on deck to find
the ship wrapped in an impenetrable fog that seemed
almost to have the consistency of blotting-paper. No
motion of the ship was perceptible, and no vision
possible for many yards in any direction. Only a faint
tremor from the engines and the position of the bridge
telegraphs showed that we were moving slowly ahead.
The siren was sounding continually, sending out its
strident note of warning as a part, it seemed to me, in
an orchestra of sirens performing far away. I suppose
the intervals were translated into signals by the
anxious men on the high navigating bridge, but to me
CROSSING THE ATLANTIC 217
they were meaningless. The crackling of the wireless
meanwhile went on continuously, and could be heard
between the blasts of the siren. The moments seemed
charged with uncertainty. We drew into expectant
groups, and smoked disconsolately. Sudden interest
was aroused when a large ship stole past us noiselessly
and very closely, an apparition that was viewed with
some alarm. The elusive picture of her upper-works, as
though delicately pencilled on the opal background of
the fog, escaped us then to be remembered afterwards.
Someone said that the people on the bridge had been
aware of her proximity for a long time, through the
wireless.
We continued to move ahead in this manner till
evening, when we anchored, somewhere off New York
harbour. In the morning^the lifting fog disclosed seven
or eight huge ships or liners quite near to us. All of
this company of ships had groped their way in as we
had done. To me it was indeed wonderful that there
had been no catastrophe.
I made my way from New York to Montreal by rail.
Earl Grey, Governor-General of Canada, was on the
train, and kindly invited me to his saloon, evincing
much interest in my mission.
A little difficulty awaited me at the beginning of my
work at Montreal. I understood I was to deliver my
opening address in the Cathedral ; but it appeared there
had been some opposition, the Bishop, who I think
was also the Dean, not agreeing to the Cathedral being
used for that purpose. It was a trifling bit of
obstruction that unfortunately is sometimes met with in
Church matters. However, I was invited to the Presby-
terian Church of St. Paul, and must say that it
was in many of the Presbyterian Churches throughout
Canada that I had the best success. I felt much
at home in the Scotch atmosphere, meeting many
218 A WESTMINSTER PILGRIM
Scotsmen who had friends and relatives in that part of
Scotland where I spend my holidays. A bright
example in the case of the English Church was at
Toronto. There the Rector of St. James's Cathedral, a
man of liberal views, welcomed me, placing his Church
at my service, while the choir, under the direction
of Dr. Ham an admirable choirmaster and good
all-round musician rendered a selection of Cathedral
music, from Dering to Wesley, in first-rate style. The
" atmosphere " imparted to the music was somewhat
different from that which I had come to associate with
my Presbyterian lectures, inasmuch as the choir, as in
an English Cathedral, was composed of men and
boys, whereas in the Presbyterian churches the trebles
were women. But except in large places like Toronto,
it appears almost impossible in Canada to get together
a choir of boys. Dr. Ham, however, showed that it
could be done, and I think the organists of many of
the Churches of the Established Church in Canada
could be laudably ambitious in this direction.
1 had the pleasure of meeting Dr. Vogt, the
conductor of the famous Mendelssohn Choir, and
principal of the Toronto Conservatory of Music.
The germ of the Mendelssohn Choir was found in
some public recitals organized by Dr. Vogt in 1894,
when, as organist and choirmaster of James Street
Baptist Church, Toronto, he launched a scheme that
quickly found a place in the forefront of choral singing.
The name by which his singers elected to be known
did not indicate a special devotion to the w r orks of
Mendelssohn, sweet singer though he was. Their
repertoire has always been eclectic. The Choir has
given many distinguished interpretations of the
works of Elgar and Hubert Parry, while it has
been well said that a striking feature of their singing
is its mighty volume.
THE MENDELSSOHN CHOIR 219
Dr. Vogt was an enthusiastic advocate of a cappella
music and congregational singing. And he may be
said to have anticipated by some years a movement
that, since the issue of the Archbishops' Report
(referred to in extenso in a later chapter), has found
many adherents in this country, viz., the instructing and
rehearsing of the congregation by holding week-night
practices of Church music, and by lectures on hymn-
singing and kindred subjects. His degree of Mus. Doc.
was conferred upon him in 1907 by the University of
Toronto, in recognition of his services to music in
Canada.
Early in 1917 it was announced that Dr. Vogt had
resigned the conductorship of the choir whose
technique he had wrought to such fine perfection.
The post was offered to, and accepted by, Mr. H. A.
Fricker, so long associated with music at Leeds and
with Yorkshire choralists. Mr. Fricker may well have
said of submarines which were at that time a fearful
menace what Admiral Farragut, on an historic
occasion, said of torpedoes ; at all events, full of
enthusiasm, he took up his duties at Toronto in 1917,
and, as results have shown, with conspicuous success.
I am proud to say that in Mr. Pricker's early days,
when he resided at Canterbury, he came to me for
some organ lessons at the Abbey.
The University of Toronto were good enough to
confer upon me the degree of Mus. Doc. honoris causa,
a distinction which I value very highly.
It would be tedious now to review the whole of my
journey, abounding though it did in interest at the
time. I went as far as Vancouver, the solemn vastness
of the prairies and the stupendous majesty of the
Rocky Mountains affording a superb pageant of scenery
from day to day. I recur in a later chapter to my
doings in Canada, and consider at greater leisure as
220 A WESTMINSTER PILGRIM
one who in the press of the day reserves a question for
his hour of armchair ease some of the impressions that
I brought back with me, adding also a few references
to friends whom I met in that land of manly men and
nature's wealth. Yet it may be said here that I could
not help feeling then what a glorious possession this
Dominion was, and what a bulwark the Old Country
had in it surely a prescient thought in the light of
events whose memory still is green.
On my return journey I found time to stop at Niagara,
and finished up at Ottawa, spending a very pleasant
time with my friend Dr. Harriss. I had the honour of
lunching at Government House with Earl Grey (who
came to one of my lectures), and with Sir Robert (then
Mr.) Borden, also of meeting Sir Wilfrid Laurier. The
Canadian-Pacific steamer from Quebec afforded a
delightful trip down the St. Lawrence before ever the
Atlantic was encountered. As on the outward passage,
it was with almost boyish glee that I found the ocean
voyage to possess few sorrows for me, there being
no alimentary rebellion. The unsteady platform of
the deck of a liner proved far less disturbing than
that awesome thing with which we have been made
familiar under its suggestive name of " escalator."
But for the war, I really think I should have been tempted
to go again to Canada. And now ? Who knows !
During my absence an absurd story got into the
Press about an imaginary adventure with a bear, while
crossing the Rockies. This exciting incident was
invented by an old friend of mine, the late Dr. T. Lea
Southgate, and really it took in a great number ol
people. The story was widely copied in the country
papers, and I was often congratulated in Scotland by
keepers and others on my great presence of mind and
narrow escape " from that there bear" !
CHAPTER XIX.
Memorial Window to Sir Benjamin Baker Death of King Edward
National Memorial Service Lying in State in Westminster
Hall S. S. Wesley Centenary Dean Armitage Robinson leaves
the Abbey : his Help in Editing some Motets of Dering Only
Survivor of Abbey Community of 1875.
IN 1909 a window in the Nave was dedicated to the
memory of the great engineer, Sir Benjamin Baker.
Associated with Sir John Fowler, he had much to do
with the construction of the Forth Bridge, whose
mighty spans will ever serve to prompt me concerning
the Slatin incident. As consulting engineer to the
Egyptian Government, Sir Benjamin projected the vast
irrigation scheme the realisation of which demanded
the stupendous works known as the Assouan Dam. The
fruits of the great engineer's prescience are now being
seen. A reference to Assouan is worked into the
design of the memorial window.
I suggested that an appropriate anthem for the
dedication would be Wesley's " The Wilderness and
the solitary place shall be glad for them, and the desert
shall rejoice and blossom as the rose. For in the
wilderness shall waters break out, and streams in the
desert." The Dean admitted that it was appropriate, but
for a time hesitated to authorise it, thinking, I suppose,
that it was rather too appropriate. At any rate that
was the impression the Precentor gave me. I pressed
for it, however, as it seemed the very thing, and at
last the Dean agreed. I was rather pleased when
attending the meeting in the Jerusalem Chamber, after
222 A WESTMINSTER PILGRIM
the ceremony, at hearing Lord Cromer congratulate the
Dean on "the admirable choice of the anthem." The
exact words that he used I cannot remember, but I
gathered that he thought nothing more appropriate
could have been selected and sung in honour of the
man who had helped to make the " desert blossom as
the rose."
When, eight years later (in February, 1917) we had
the memorial service for the Earl of Cromer, we again
sang the same anthem, for he too had borne his part in
the great work of the reclamation of the desert.
In IQIO came the sad calamity of the death of King
Edward VII., a National memorial service being held
in the Abbey on May 2Oth. It was attended by an
enormous congregation, and was indeed a very solemn
and impressive occasion. I selected the music to be
performed, and think it will be conceded that it furnished
a programme of deep significance. We played five
funeral marches, viz., Schubert's " Marche Solennelle,"
Purcell's March composed for the funeral of Queen
Mary in 1694, an d Marches by Beethoven, Tchaikovsky,
and Mendelssohn, the last named the E minor, from
" Songs without Words." The Tchaikovsky number,
in C minor, was accompanied by organ only; but in
the other items the organ was supplemented by
brass and drums. The service commenced with the
penitential verses of Psalm 51, as set by Sir John
Stainer. These were sung in procession, by priest and
choir alternately. An instrumental interlude followed,
viz., Beethoven's " Trois equales " for four trombones,
which, played in the Triforium, had a magnificent effect.
Handel's fine anthem, "The ways of Zion do mourn,"
and Goss's "The souls of the righteous," which I had
specially arranged for this service, were sung. The
hymn, " O God, our help in ages past," sung very
slowly by choir and congregation (except verses five and
DEATH OF KING EDWARD 223
six, which were sung very softly by choir alone), provided
an inspiring moment. Gibbons' Amen the same
that had been rendered at King Edward's Coronation
completed the service, and I played the Dead March in
" Saul," accompanied by brass and drums. Chopin's
" Marche Funebre," played by Dr. Alcock, also
accompanied by brass and drums, formed an exalted
close.
I had the honour of directing the music at the lying
in state of King Edward in Westminster Hall, taking
the Abbey Choir and having a military band to supply
the accompaniments. The deep solemnity, the simple
majesty of the scene form an arresting picture that I
can readily summon again ; and standing there, as I
stood eight years ago, comes anew the refrain of the
lamentation of the Preacher, in mournful cadence,
"because man goeth to his long home." Sir Arthur
Bigge, by command of King George, sent me the
following letter in appreciation of the music performed
on that memorable occasion :
" Marlborough House,
" Pall Mall, S.W.,
" June 2nd, 1910.
" DEAR SIR FREDERICK, The King commands me
to express to you his entire satisfaction with the
arrangements made by you for the musical portion of
the service in Westminster Hall on May lyth. His
Majesty thought that the choir sang beautifully, and
that the combination with the band in the last hymn
was most striking and impressive.
" His Majesty sincerely thanks you and all who
worked with you in achieving what was in every way
worthy of the great and solemn occasion.
" Yours very truly,
" ARTHUR BIGGE."
224 A WESTMINSTER PILGRIM
Later in the year we celebrated the centenary of
Samuel Sebastian Wesley, one of our most distinguished
English Cathedral musicians, who has raised the
anthem to the highest art-form it has yet attained.
The suggestion that we should commemorate this great
man who had done so much to enrich the Church with
beautiful music was received with much satisfaction by
all classes of people clerics and laymen, professional
musicians and amateurs. We assembled a very fine
choir of some three or four hundred voices, in which
were included many representatives from Cathedrals
and Churches all over the country. The selection of
music comprised some of Wesley's finest works, and
in one instance a splendid anthem which was probably
unknown to many of those present, viz., that which he
wrote on the death of the Prince Consort, " All go
to one place." I remember this anthem coming down
to Rochester at the time when I was assistant-organist,
but I do not think it was ever performed there. I had
introduced it to the Abbey for the funeral of George
Edmund Street (see page 121), and it was, I know, a great
surprise to not a few who took part in the centenary.
Two of Dr. Wesley's sons attended, one of whom, the
Rev. Charles Wesley, presented me with a beautiful
pair of silver decanter-stands which Dr. Wesley always
had on his table on great occasions.
The Rev. C. Wesley wrote to me from his Rectory
of Grosmont, Hereford, in connection with this
commemoration. I give some extracts from his
letter :-
" July itfh, 1910.
" MY DEAR SIR FREDERICK, When I was in town
I kept thinking that as you think so favourably of
my father, you might like to have something of his as
a memento ... I have a pair of silver decanter-
stands. Father bought them at a sale, and they were
MEMENTOES OF S. S. WESLEY 225
always used on state occasions. Then I have a silver-
mounted flask father used to take out fishing till it took
to leaking at the mouth ... I have thought that
the two decanter-stands would be most useful to you.
If you think so, I will send them at once . . .
" Faithfully yours,
"C. WESLEY."
As a fisherman and musician I could almost have
coveted that silver-mounted flask of so great a fisherman
and musician as S. S. Wesley, for all that it leaked at
the mouth. The Rev. Mr. Wesley's letter catalogued a
number of things of his father's that he treasured, but
which would not have been withheld from me had I
elected to choose any one of them as a memento so-
convinced was he that I would cherish their possession
even as he did. Thus there were " a music wagon
that stood on his piano in his study," " some fishing
rods," "a Worcester tobacco jar, representing a coil of
rope and a tar sitting upon it with a pipe in one hand
and a big mug from which he is taking a pull in the
other." Then comes an interesting fragment of history ;
he goes on : " This was given to my father by Mrs,
Edward Stewart. You may have known her, as she
and her sister, Lady Bantry, were well-known in town.
Herself the grandest looking woman I ever saw, she
was the mother of the beautiful Mrs. Berens, one
of whose daughters became Countess Cairns, and her
son was the General Herbert Stewart killed in the
Soudan. She was a Herbert of Muckross Abbey, and
her husband's sister was Duchess of Maryborough."
It was interesting to me to have this little bit of
genealogical tree, as the Duke and Duchess of
Marlborough were frequent visitors to me in the
organ-loft when the Duke was erecting a new organ
at Blenheim. I had the honour of being a guest at
Blenheim when this organ was opened (see page 257).
Q
226 A WESTMINSTER PILGRIM
Referring to the old Worcester tobacco jar, with
its note of breezy conviviality, one wonders what
consolations the wayward genius whose it was it has
been said of him, "he would ever dash his head
against a wall where others would walk out by the
door" extracted now and then from its fragrant
contents.
A week later I received another letter from Wesley's
son, from which I quote. It is also dated at Grosmont
Rectory :
"July 2oth, 1910.
" MY DEAR BRIDGE, I am sending by this post,
registered, the two decanter stands. ... If the
receipt of these things gives you half as much pleasure
as it gives me to be able to send them, you will
be greatly pleased ... I should very much like
Canon Duckworth to know how pleased I was at the
way in which he spoke of father's personality. . . .
I have often thought how kind you used to be to me
twenty-six years ago when I was three months in town,
and used to come to the Westminster organ-loft on
Sunday afternoons.
" Faithfully yours,
"C. WESLEY."
The late Dr. Charles Maclean, writing in the July-
August, 1910, issue of the monthly journal of the
International Musical Society, upon the Wesley
Commemoration, let fall some characteristically
pungent and succinct remarks. He said:
"As composer, and in the domain of Church
music, S. S. Wesley eclipsed his father and towered
above all his contemporaries. He did this because
alone of all of them he could write a tune . . .
His fame rests chiefly on his two dozen anthems.
Each of the large anthems is a symphony of
THE WESLEY COMMEMORATION 227
several vocal numbers, and each number will be
found to be based on a single melodious theme.
He inherited his father's aptitude for
counterpoint, which in turn was founded largely
on the Bach model."
And he went on :
"If in forty years of anthem writing he never
surpassed his early ' Wilderness ' in romantic
beauty, and subtle polish, his eight-part ' O Lord,
Thou art my God,' for his doctor's degree seven
years later, is one of the noblest monuments of
solid and powerful English music."
Dr. Maclean made some graceful references to our
service at the Abbey, and to me. I venture to give an
extract :
"Sir Frederick Bridge, whose energy is inex-
haustible in illustrating the great features of his
country's music, and to whom every anniversary
is a festal day, marked St. Peter's Day .
with functions at the Abbey commemorative of
S. S. Wesley's birth-centenary. Along with the
religious service for the day, eight of the great
anthems were sung in the Nave by a choir of two
hundred and fifty, with organ accompaniment
(Alcock), but conducted from a rostrum (Bridge),
and so rendered with vigour and expression.
The effect was supremely impressive
Later an organ-recital of eight of the S. S. Wesley
organ-works by eight different organists, the
most effective being Choral Song and Fugue
(Kendrick Pyne) and National Anthem with
Fugue (Bridge) . . ."
I feel very proud at having been able to pay
this tribute to Wesley. His career was not a happy
one. I fear his temperament was hardly suited to the
228 A WESTMINSTER PILGRIM
post of Cathedral organist. He lived at a time when
the authorities of our Cathedrals took little real interest
in the music performed there, and in a great measure
somewhat starved the choirs. Wesley, by his writings,
shows how deeply grieved he was at the poor level
of Cathedral services in his day, and how he chafed at
the many obstacles in the way of improvement. But
he was not the man to get things put right. He had a
quick temper and a sharp tongue. Some of the stories
told about him are very amusing, among them one
in connection with his fine anthem, "Ascribe unto
the Lord." There is a movement for men's voices in
unison to the words, "their idols are silver and gold,"
including also the words, " eyes have they and see
not, noses have they and smell not." When his choir
was singing this phrase Wesley said to a pupil, " No,
they use theirs to sing through "/
It is sad to think that he probably never heard his
finest anthems adequately rendered, as to-day they are
I rejoice to say in many Cathedrals and churches. I
had hoped that besides the service we should have
been able to place a memorial to Wesley in the Abbey.
Dean Robinson was quite in favour of the idea, and
actually agreed to a spot which I had indicated, just
below the monument to John and Charles Wesley in
the south aisle of the Choir. But I am sorry to say
that the cost which would include not merely the
monument but also the large fee payable, I believe, to the
fabric fund of the Abbey, and therefore most probably
a necessary charge made it impossible to carry out
this part of the scheme. Perhaps one day the absence
of any memorial to one of the greatest benefactors to
Cathedral music may be remedied. I have seen a
good many memorials erected in the Abbey to men who
deserve the distinction far less than Samuel Sebastian
Wesley. He certainly ought to find a place among
MOTETS OF R. BERING 229
the musicians who are held in honour by the visible
sign of a memorial in Westminster Abbey. In my own
time a monument has been erected to Balfe a clever
composer but of operas, and not of anthems !
In i Qi i, to our great regret, Dean Armitage
Robinson elected to go to Wells instead of remaining
at the Abbey. He was a great loss, and to me
his departure was indeed a personal loss. His
interest in the music was always so warm and
sympathetic, and always would he bring a ready
enthusiasm to aid me in some arduous researches
which I made in the Library. Particularly was he
useful and encouraging in the discovery and subsequent
publication of the splendid Motets of Richard Dering.
These were first issued in 1617 and 1618, and copies
of the original editions are in the Library. So far
as I could learn none had ever been reprinted
(they number forty in all) until my edition appeared.
They are set to Latin words, and Dean Armitage
Robinson afforded much help in the translations, in some
cases, where the words were unsuitable for the English
Church, ingeniously finding appropriate alternatives.
With his assistance I have restored to life and use
some ten or twelve of these splendid Motets, works
which I make bold to say cannot be equalled by any
selection from the compositions of any contemporary of
Dering's. This composer, it may be added, was
organist to Henrietta Maria, Queen of Charles I. He
died in 1630.
Dean Armitage Robinson was succeeded by our
present Dean, at whose Consecration as Bishop of
Exeter in 1901 I had presided at the organ.
The death of the Sub-Dean, the Rev. Canon
Duckworth, in September, 1911, removed the last of
the administrative body who served the Abbey when I
was appointed in 1875. Canon Duckworth lived in the
230 A WESTMINSTER PILGRIM
Cloisters in the house adjoining mine, and for many
years I enjoyed his friendship. He was musical,
and in early days did much to encourage me
when sometimes I badly needed a sympathetic and
helping hand.
It will be remembered that he took the principal part
in the negotiations for my election as organist ; and
during his lifetime, I always felt that in him I had a
real friend and strong helper. His death left me the
only survivor of the Abbey community as constituted
in 1875.
CHAPTER XX.
Coronation of King George and Queen Mary Another Homage
Anthem A Shrewd Suggestion from Sir Walter Parratt
Sir Henry Irving as a Musical Critic Edward Lloyd's Solo
Awarded the C.V.O. Dinner given by the Coronation Choir
Presentation Coronation Baton : Two Inscriptions.
THE year 1911 saw the Coronation of their Majesties
King George V. and Queen Mary. For the second
time I was appointed Director of the Music, being also
again requested to take counsel with my friend Sir
Walter Parratt. It will be understood that the organi-
zation of this great ceremony was made much
easier by the experience gained at the previous Corona-
tion, as I had carefully preserved all the records,
including the plans for seating the choir and band. I
remember when desired to attend at the Office of
Works to discuss these matters with Sir Schomberg
Macdonnell, the then Chief Commissioner of Works,
how pleased he was, and what a sigh of relief he gave,
when, as a concrete answer to his question, " What
can you tell me about the seats for choir and band?"
I was able at once to produce exact plans for accom-
modating the whole force. " Thank God," he said,
" somebody has got something that is ready, and will
help me."
We proceeded on the same lines as at the previous
Coronation. There was no difficulty about the
Westminster boys and their " Vivats," Parry's
splendid anthem was again included, and I contributed
a new anthem for the " Homage." I was fortunate
232 A WESTMINSTER PILGRIM
in my selection of the words, and may be forgiven
for explaining how it came about. My mind had been
dwelling upon this subject during my previous holiday,
and while at our Scotch home I one day went to lunch
at the Manse, and in the Minister's study found his
Bible lying open. Glancing over it, my eyes lighted
upon Psalm 33, verse 12, at the words, " Blessed is the
nation whose God is the Lord." Now the Prayer
Book version of the Psalm has the word " people," but
" nation " seemed to me so much stronger that I
immediately decided, if possible, to adopt this version.
The Archbishop of Canterbury offered no opposition,
while Dean Armitage Robinson approved very much
of my suggestion, and I was authorised to proceed,
which I did by selecting for my purpose verses 12-16,
and 18-22.
This lengthy text seemed rather to alarm the
committee, and Sir Almeric Fitzroy asked me to wait
upon him at the Privy Council Office. I noticed that he
had before him the Coronation book of King Edward,
and with it the book for the forthcoming ceremony.
Both were open, showing my anthems side by side.
Sir Almeric began by saying that their Lordships
felt some anxiety concerning the length of my new
anthem, as in print it looked so much longer than that
which I had selected for King Edward's Coronation.
I explained that the time required in performance was
a quantity having no reference to the length of the text,
the determining factors being the treatment of the
words, the number of repetitions, the tempi, &c. In the
end I was able fully to assure him that, having kept the
matter of length constantly before me, I was confident
my anthem would exactly fill the interval allotted
to it. Sir Almeric, in thanking me, said that he
thought this assurance would entirely satisfy their
Lordships.
SIR HENRY IRVING AS CRITIC 233
In recounting the incident to Sir Walter Parratt, he
shrewdly remarked that I should have reminded Sir
Almeric that the text of a good many long choruses had
consisted of a single word " Amen," or " Hallelujah" !
I wish I had thought of that.
Sir Hubert Parry, besides his anthem " I was glad,"
contributed a fine Te Deum ; Sir Edward Elgar an
Offertorium and grand Orchestral March ; Sir Charles
Stanford a Gloria in Excelsis ; and Dr. Alcock a
Sanctus. Besides these compositions I was glad to be
able to include orchestral music by Sir Alexander
Mackenzie, Sir Frederic Cowen, Dr. Walford Davies,
Mr. Edward German, and Mr. Frederic Cliffe.
In connection with his anthem, Sir Hubert Parry
afterwards told me a good story of its effect upon Sir
Henry Irving. Sir Hubert and Sir Henry sat together
in the Nave at the Coronation. They watched the
great Procession for which I had provided suitable
Marches and Sir Henry was very full of conversation,
till the time for the Procession of the King and Queen,
whose progress from the West Door took place to the
accompanying anthem, " I was glad w r hen they said
unto me, we will go into the House of the Lord,"
which happened to be Parry's own composition. At
the conclusion of this anthem Sir Henry said, " Well,
I don't think much of the music so far " ! Having only
the service paper before him, and not the score, he
certainly did not know that the anthem was Parry's
and, said Sir Hubert, " I did not enlighten him."
One point about the choir and my anthem I must
not overlook. I had written a short tenor solo in it, and
remembering that Edward Lloyd had been a boy
in the Abbey choir, I determined to try and get him
to sing it. Mr. Lloyd had retired from all professional
engagements, but I knew he still retained his powers, so
I went down to Worthing and was successful in getting
234 A WESTMINSTER PILGRIM
him to undertake it. In one way it will help to preserve
the memory of his beautiful voice, for the anthem has
been reproduced on the gramophone with extraordinary
success, Mr. Lloyd's fine interpretation being a remark-
able feature of the record.
To conclude the account of the second Coronation
Service in which I have had the great honour to direct
the music I hope I may be forgiven for adding the
following letters and incidents.
The first letter is from Bishop Ryle, our respected
Dean, who has never failed to say a kind word to
me on any occasion when I have done my best for
the Abbey. It was written and sent to me on the
very evening of Coronation Day, and was a parti-
cularly kind act as the Dean was very much fatigued,
having been in ill-health for some time previous to the
eventful day :
" The Deanery,
" Westminster, S.W.,
" 9.30 p.m., June 22nd, IQII.
" MY DEAR SIR FREDERICK, Excuse a pencil note.
But I could not sleep to-night without sending a
line to thank and congratulate you for the splendid
service you and your great choir rendered with such
wonderful success. I hope you will be feeling happy
about it. You deserve to do so. Personally let me
thank you for all that you have done for to-day's great
function.
" Yours very gratefully,
" HERBERT E. RYLE.
" The King has sent a beautiful telegram about the
satisfaction he and the Queen derived from your
reverent and devotional treatment of the Coronation
solemnity."
LETTER FROM SIR HUBERT PARRY 235
From Sir Hubert Parry I received the following
very flattering and highly characteristic letter :
" Royal College of Music,
11 June 26th, 1911.
" MY DEAR BRIDGE, How are you feeling about
now ? I'm very sorry I didn't see you this morning
to pile congratulations on you for getting through that
fearfully tangled and complicated and responsible
business with such complete success. As far as I
could hear in my remote corner you seemed ready for
every emergency and kept it all going all the long
while without a sign of faltering or a gap, and you
kept them all in such good humour and got ever so
much more work out of them in consequence. I am
infinitely obliged to you for taking so much trouble
over the Anthem and the Te Deum, and I'm sorry I
made the latter so hard. I couldn't hear much of it
at the ceremony, but it seemed to be going all right.
I should have written sooner but I dragged my anchor
in Stokes Bay on Saturday and the sloop went ashore
and remained broadside to the waves for seven
hours and we had an awful job getting her back to
Littlehampton next day, after pumping all night !
" Yours ever,
" C. HUBERT H. PARRY."
His Majesty the King marked his recognition of
the occasion by conferring upon me the Commandership
of the Royal Victorian Order, which I received at
Buckingham Palace a few days after the Coronation.
I thus had the honour of receiving a decoration from
a third sovereign, Her Majesty Queen Victoria having
bestowed upon me the Jubilee Medal in 1887, and
conferred the honour of Knighthood in 1897, while
King Edward had added the M.V.O. in 1902.
236 A WESTMINSTER PILGRIM
A very gratifying compliment was shortly afterwards
paid to me by the Coronation Choir, who organized
a dinner, the Chair at which was taken by His Grace
The Duke of Devonshire. During the evening the
Chairman read the following letter from Lord Knollys:
" His Majesty wishes it to be made known to
the Westminster Abbey Choir, as well as to
Sir Frederick Bridge, that he was very much
pleased with the musical arrangements in the
Abbey on the occasion of his Coronation, and that
he thought the music was beautiful and extremely
well rendered."
I was also presented with a beautiful silver salver
subscribed by the members of the great Choir as a
memento of the historic occasion of the Coronation in
which they had taken part with me.
In connection with these events I received the
next day the following delightful letters from the
Duke of Devonshire and Sir Hubert Parry. His Grace
wrote :
" Devonshire House,
" Piccadilly, W.
"July 241/1, 191 1.
" DEAR SIR FREDERICK, Please accept my very
best thanks for the copy of the music for the Corona-
tion. Subject to having a speech on my mind I
enjoyed the dinner very much. I had the most
pleasant companions at dinner, and in the high level of
the speeches I trust my own deficiencies were not as
obvious to my audience as they were to myself.
" With many thanks,
" Yours truly,
" DEVONSHIRE."
TWO INSCRIPTIONS 237
The " companions " to whom pleasant reference is
thus made were Sir Hubert Parry and myself. Sir
Hubert's letter of congratulation upon my decoration,
and felicitating me upon the dinner, recalls all its
writer's great kindness and characteristic bonhomie.
Writing from the Ro} r al College of Music, he said :
" July 24/A, 191 1.
" MY DEAR BRIDGE, I am delighted to hear this
good news. I did so hope it would corne off ! And
it 's right well deserved. I congratulate you heartily,
and every one concerned.
" I hope you liked your dinner. It seemed to go off
very genially, and the general goodwill was hearty.
Good luck to you ! Yours ever,
" C. HUBERT PARRY."
Sir Homewood Crawford was kind enough to have
the baton with which I conducted the Coronation
service mounted in gold, and further embellished with
the following inscription :
Baton used at the Coronation of Their Majesties
KING GEORGE and QUEEN MARY, in Westminster
Abbey, by SIR FREDERICK BRIDGE, Mus. Doc., M.V.O.,
when conducting the Orchestra and Choir on Thursday,
the 22nd June, 1911. The gift of his grateful friend,
SIR HOMEWOOD CRAWFORD, E.O.B.*
I used the same baton at the re-inauguration of the
Chapel of the Bath, in 1913, when Sir Homewood
added the further inscription :
Also used by SIR FREDERICK BRIDGE, C.V.O., Mus.
Doc., at the Service attended by His Majesty KING
GEORGE V., in Westminster Abbey, on the re-inauguration
of King Henry VII. 's Chapel, as the Chapel of the
Most Honourable Order of the Bath, on Tuesday, July
22nd, 1913.
* E.O.B. = '' Emergency Organ-Blower" (sec page 151).
CHAPTER XXI.
Funeral Service of Lord Lister Memorial Window to Lord
Kelvin First Service for the Knights of the Bath for a
Hundred Years : Letter from Bishop Ryle Memorial
Service for the Duke of Argyll Speech by Mr. Rudyard
Kipling Welsh National Service Letter from Mr. Lloyd
George.
IN 1912 the most memorable events in the Abbey
were the funeral service of Lord Lister and a memorial
service for the Hon. Whitelaw Reid. In 1913 a
memorial window to Lord Kelvin was unveiled. It is
perhaps a small point to record that this window
contains, besides the principal figures, Henry V. and
Abbot William of Colchester, a representation of the
celebrated Lord Mayor Dick Whittington and his cat.
The object of the inclusion of Whittington and his cat
is to emphasise the fact that while Henry V. was fighting
in France and winning the battle of Agincourt, the
Lord Mayor was collecting money for the Abbey.
In this year also a special service for the Knights of
the Bath was held in the Abbey. For many years
after my appointment Henry the VII. 's Chapel the
Chapel of the great and dignified Order of the Bath
was a somewhat desolate-looking place. True, it was
used for occasional services and for weddings, but the
only connection it seemed to have with the Order of
the Bath was the presence of many very old and
ragged banners over the stalls of knights long since
departed. But at last the Chapel was renovated, the
old banners removed, and those of knights of modern
times were placed above the stalls, and then, for the
REVIVAL OF BATH SERVICE 239
first time for a hundred years, a service for the
Order of the Bath was held. His Majesty the King
attended, and a great number of the Members of the
Order. From the old records it appeared that there
was an anthem, " Behold how good and joyful a thing
it is," that was always sung at the Bath services.
The only setting worth doing (by Battishill) was
almost certainly the one previously used, but it
contained a long and tiresome trio for men. It
would have been absurd to include this movement, and
yet we were anxious to retain the anthem if possible.
Under these circumstances I resolved to adapt the
trio, taking its chief phrases (which were extremely
melodious) and working them into an unaccompanied
chorus. This anthem was sung while the knights
proceeded to the Chapel for a short ceremony and
returned to the stalls in the Choir. The result was
good, and I feel the composer would forgive me,
particularly as the emendations have preserved the
anthem for use on future occasions. I may quote from
a letter the Dean afterwards wrote to me, which serves
to show that the music was acceptable :
11 The Deanery,
" Westminster, S.W.
"July 22,nd, 1913.
"DEAR SIR FREDERICK, It all went splendidly!
the King sent for me in the robing-room and expressed
his great gratification. He said, ' Will you specially
tell Bridge that I liked the music very much, it could
not have been better.' The Queen also joined in,
and said how very much she had enjoyed the music.
These expressions are some small recompense for
all the time and trouble you have bestowed in
making the Bath service one of the great successes
of your career.
240 A WESTMINSTER PILGRIM
" Moreover it was all well timed. May I hope you
were as much pleased as I have been at the happy
termination of our efforts to produce a service worthy
of the Abbey.
" Take a good and cheerful holiday !
" Yours very sincerely,
" HERBERT E. RYLE."
I suppose there must be in me a strain of
medisevalism, for, as already confessed in an earlier
page, the spirit of the art and customs of the spacious
days of knight-errantry hold for me a singular charm.
A quaint survival at the Abbey, in which, as officiating
organist, I have assisted with much interest, has been
the Royal Maundy distribution, that formerly took
place in the Royal Chapel at Whitehall. When that
Chapel was given up the service was transferred to the
Abbey, where in Passion Week this ancient custom-
reminiscent of a ceremony long since obsolete, when
the Sovereign would wash the feet of as many poor
indigents as he was years old is an impressive event.
The Maundy-money is well known, and is distributed
to specially chosen recipients from London parishes.
As musician on these occasions I have received the
sum of four shillings, in the curious id., zd., 3^., and
^d. silver pieces. In recent years the musician's
recompense has been reduced to two shillings and
sixpence ! Begun as a pious act by Edward III., in
1363, Maundy has survived until to-day. The last
monarch to wash the beggars' feet was James II.
In 1914 came the death of the Duke of Argyll,
and one more solemn service was added to the
long tale so full of lingering memories. A great
and notable gathering assembled to pay a last
tribute to the dead Duke, the service being rendered
SILVER ROSE-WATER DISH, PRESENTED TO THE AUTHOR BY THE SAMUEL PEPYS CLUB.
AN KARLV PORTRAIT OK THK
AUTHOR (AGED 9).
A HITHERTO UNPUBLISHED PORTRAIT
OF MENDELSSOHN.
RECRUITING BANDS 241
with fine feeling and devotion. Shortly afterwards
Dr. Boyd Carpenter very thoughtfully sent me the
following letter and enclosure :
" 6, Little Cloisters,
" Westminster, S.W.,
" May 8th, 1914.
" MY DEAR SIR FREDERICK, I send you copy of a
letter I have just received. It will please you, I know.
Will you let the Choir know ?
" Sincerely yours,
" W. BOYD CARPENTER."
[Enclosure.]
" Buckingham Palace,
" May 8th, 1914.
" MY DEAR BISHOP, The King desires me to thank
you and all concerned for the manner in which to-day's
solemn ceremony was carried out. The service was
full of dignity and reverence : the music beautiful, and
His Majesty feels certain that in every way effect was
given to Princess Louise's wishes.*
" Yours very sincerely,
" STAMFORDHAM."
Before going on to speak of some Abbey Services in
connection with the War, I must say a word about the
movement to establish what came to be known as
" Recruiting Bands."
I felt the old martial ardour stirring within me
when, early in 1915, I had the honour of being
associated with a committee who were working to
establish these patriotically tuneful organizations. A
meeting was called at the Mansion House, presided
over by the Lord Mayor, Sir Charles Johnston,
* Princess Louise was too unwell to be able to attend this service. She
came, however, to hear a private performance of the music, a short time
afterwards.
R
242 A WESTMINSTER PILGRIM
supported by Sheriff H. de Lafontaine,* Mr. Douglas
Sladen, Sir Homewood Crawford, and others. A
distinguished company attended. Mr. Rudyard
Kipling was the lion of the occasion, and made a
rousing speech, in which he amply vindicated his right
to speak and appeal for the men in the ranks, and his
supreme power of focussing in a phrase inarticulate
popular thought. A portion of his pleading struck right
home into a larger question than was outlined at the
moment : "The soldier does not live by bread alone.
From time immemorial he has been accompanied by
elaborate ceremonial and observance, in which music
plays no small part. It is not seemly, and it is not
expedient, that any portion of that ritual should be
slurred or omitted now." And he told some inspiring
stories of the part that music had played in "restoring
shaken men to their pride, and humour, and self-
control." Musicians may well be proud to be charged
with so great a national asset as lies even within the
repertory of the fife and drum.
Lord Denman, wearing the uniform of the Territorial
Cavalry, spoke ; also Miss Lena Ashwell, whose work at
the Front during the War period is so well known. In
making some remarks, I pleaded for good rousing, noisy
marches, and no classical stuff. As an old volunteer
bandsman, I knew my text, unblushingly proclaiming
my affection for " Ninety-five " and " Rory O'More."
My old friend Dr. T. Lea Southgate was to have
been present and taken part. But he wrote asking me
to make his apologies to the Lord Mayor for his
* This is not the only service done to music by ex- Sheriff de Lafontaine.
By his munificence in printing a valuable " transcript of records relating
to music and musicians," under the general title of " The King's Musick, 1 '
covering a period from 1460 to 1700, he has made a splendid contribution
to musical history. The text of the volume comprises a collection of
documents preserved in the Record Office, from which may be
gleaned many interesting details concerning the lives of musicians
attached to the English Court.
AN IMPRESSIVE SERVICE 243
non-attendance. He said that he had seen Lieut. Albert
Williams, and discussed with him the subject of
recruiting bands. Lieut. Williams's advice was, "Don't
attempt to have a large and expensive band, it means
so much work and many troubles " ; adding that for
" popular tunes such as the people know and appreciate
much better than what is termed ' good music,' " a
combination like that of the " fifers and drummers of the
Grenadier Guards band would answer every purpose."
and further that " if any bugles are included, they
present a change of tone and give a little more colour
to the simple music."
The influential list of subscribers for the proposed
bands was headed by the Lord Chancellor, the Poet
Laureate, and Sir Edward Poynter, late president of
the Royal Academy.
Since the outbreak of war in 1914, the special
services at the Abbey have been generally in connection
with one of the many war funds. We had an Anzac
Commemoration on April 23rd, 1916, at which the
King and Queen were present. In 1917 there was
a memorial service to H.R.H. The Duchess of
Connaught ; and a special Canadian service, also
attended by the King and Queen. I shall recur to this
service, when reviewing some further aspects of my
Canadian journey of 1908. Just now I pass on to a
most impressive service that was held on June 22nd
(Coronation Day), 1918, nearly a year after the voice
of Canada was heard in the Abbey. It grew out of a
proposal made to me by Mr. A. Davies* the secretary
of an organization established for the amelioration of
Welsh Prisoners of War that I should give an organ
recital, the proceeds of which would imburse the fund.
When Mr. Davies's committee found that I was ready
to assist them in every possible way, they thought of a
* Mr. Davies is now M.P. for Lincoln.
244 A WESTMINSTER PILGRIM
Special Welsh service, and the outcome was another
great expression of nationhood within the Empire
vicing with the Colonial celebrations uplifted in the
historic Church of the British race. On this occasion,
however, it proceeded from a people whose history
was old ere the Abbey site was hallowed by
consecration, and who, as is so well known, have
always shown a great national love for music.
But if their story is old, their traditions are inspiring and
their vigour unsapped as witness many a deed in the
great War achieved by these tenacious warriors.
I readily consented to ask the Dean to receive the
committee. He at once agreed to the service being
held, and suggested the afternoon of Coronation Day.
This happy idea was readily accepted, and we began
to prepare for the event. But the Westminster Abbey
afternoon service, with the Psalms, Canticles, and
Coronation anthem, " Zadok the Priest," had to be
performed, and this allowed only a short interval for
hymns, of which the committee greatly desired us to
sing a selection in Welsh. I was invited to attend
with the committee at 10, Downing Street, to meet the
Prime Minister and discuss the matter. Mr. Lloyd
George was most enthusiastic, and I could but admire
the way in which he joined in the favourite Welsh
hymns with certain Welsh singers who were at the
meeting. I thought, and said, what a rest it must
have been from the black care of war work. But the
problem of how to include those hymns faced us, until
I heard that the band of the Welsh Guards was to
play in the Nave before service. " Why not let the
people sing hymns with the band to accompany?" I
asked ; and added, " You can then have hymn-singing
for an hour before the regular service begins." The
Prime Minister said, "Sir Frederick, that is a stroke of
genius ! " and so it was arranged.
"A GOOD WELSH ACCENT' 245
The occasion was made truly representative, the
great heart of the Welsh nation responding to the cry
of its sons in distress. A vast congregation attended,
while there was a fine choir of mixed voices drawn
from the various Welsh churches and chapels in the
Metropolis and district, augmented by a contingent ot
singers from the Welsh Guards that magnificent body
of men that, young in war, is already old in fame. The
service was mainly in Welsh, and proved a revelation
in congregational singing. The varied selection of
hymns sung in the Nave included " Aberystwyth,"
" Llanfair," " Dwyfor," " Ebenezer " tunes dear to
Welsh choralists and the great " Hen Wlad fy
Nhadau" ("Land of my Fathers"), the solo part in
which was magnificently sung by Mr. Ben Davies, from
a station in the organ-loft. All the hymns were
accompanied by the band of the Welsh Guards and by
the organ. Written and composed specially for the
service was " The Psean of Wales," a hymn-setting
that I made of some stirring and uplifting verses by
Bishop Boyd Carpenter. This number was sung in
English. The hymn during the collection was sung in
Welsh, and to enable my boys to take part, it was
written out phonetically, and so taught to them.
Mr. Lloyd George said I should have " a good Welsh
accent before the service was over."
The hymns were a very inspiring and moving part
of the programme, and worthy of the occasion.
The rest of the service adhered to the usual afternoon
form, the anthem (selected by the committee) being
a short composition of mine to words by Shakespeare
(Richard III., Act 5, Sc. 3) :-
Remember this
God, and our good cause, fight upon our side ;
The prayers of Holy Saints, and wronged souls,
Like high rear'd bulwarks, stand before our faces.
246 A WESTMINSTER PILGRIM
As these words are put into the mouth of a Welshman
(Richmond, afterwards Henry VII.) they proved very
appropriate.
Her Majesty Queen Alexandra and H.R.H. Princess
Victoria, who were present, graciously congratulated
me on the music, as well as my little Motet, as they
left the Abbey.
A unique feature of the event was the attendance ot
two Premiers of the British Empire Mr. Lloyd George
and Mr. H. M. Hughes who collected alms during
the proceedings.
The Prime Minister also was kind enough to write
me the following letter :
" 10, Downing Street,
" Whitehall,
"June 2jth, 1918.
"DEAR SIR FREDERICK, While the memory of the
historic Welsh service in Westminster Abbey in aid of
the Welsh Prisoners of War Fund is still fresh in my
mind, I wish to thank you for your great and valued
help in making this unique occasion such a complete
success. It was a triumph of organization and
co-operation, and I should like to say how greatly
interested I was in the musical side of the programme,
which under your skilled direction made such a
memorable feature. Your setting of Bishop Boyd
Carpenter's hymn was beautiful. The choir under
your leadership did extremely well. As Patron of the
Fund, I feel it my duty to send you this word of
formal and grateful acknowledgment.
" Yours very faithfully,
" D. LLOYD GEORGE."
This certainly was one of the most successful of the
War services held in the Abbey, and I shall always
AWKWARD MOMENTS 247
remember it with pride. The Dean wrote to me
saying I might consider it one of the great successes
of my career.
It is curious to reflect that I began my efforts to
obtain a Cathedral appointment as a candidate for a
Welsh Cathedral Llandaff, in 1867 and at the close
of my labours as a Cathedral and Abbey organist I
should be directing a great national Welsh gathering
among my last special services in the Abbey.
The service lists at the Abbey in the Church's year
would make a large book, and in addition there are the
great number of special services for all sorts of
occasions (see page 333). It is not to be wondered,
in arranging such a mass of detail, that now and then
an embarrassing contretemps should occur ; but it is
surprising how few really serious mistakes have been
made so far as the administration and direction of the
choir are concerned. I can remember only two incidents
of this nature, and these had nothing to do with choir
discipline. One arose through the default of a strange
clergyman, who, having been announced to preach a
sermon in the Nave, failed to put in an appearance.
There was a great deal of commotion, as no member
of the clerical body at the Abbey seemed willing to
undertake the duty at a minute's notice. The Precentor,
however, came to the rescue by giving out the Old
Hundredth, which we sang in place of the sermon, and
so the service ended. Another awkward moment was
when the Precentor inadvertently selected an anthem
for the morning service which included a verse of the
Evening Hymn ! He did not notice this until the
anthem had started, and then made great efforts to
attract the attention of the organist, who on that
occasion was one of my assistants. Absorbed in
the accompaniment, he failed to notice the Precentor,
and the unsuitability of the anthem entirely escaped
248 A WESTMINSTER PILGRIM
him. So inevitably, as it turned out, the choir were
singing, at 10.30 a.m., the verse " Glory to Thee, my
God, this night " !
An irreverent interruption was caused on one
occasion when a demonstration of working men
marched from Trafalgar Square into the South
Transept. But after all they were not very unruly,
and listened with interest and some appreciation to
Wesley's " Wilderness." The Suffragettes were a
little more unreasonable at times, and frequently I had
powerfully to intervene with the organ to cover up
their remarks.
One of the earlier air raids of the W T ar occurred
during service ; the proceedings, however, were not
interrupted and there was no excitement. As soon as
the anthem was over I went out into the Cloisters to see
some of the terrible machines disappearing over the
river to the South-East. Most of the raids occurred at
night, when those who lived in the Cloisters took
refuge in the old Norman Undercroft.
It is pleasant to turn from such recollections to
recall a few distinguished and interesting visitors
who at times have called upon me at Westminster.
The organ-loft, in which is centred the control oi
that marvellous mechanism whose voice can raise a
multitude to ecstasy, is a lodestone attracting all
sorts of curious and thoughtful people. And not
these alone ; many distinguished visitors also have
sat with me there. Queen Alexandra and Princess
Victoria have honoured me by their presence ;
also His Royal Highness The Prince of Wales,
and his brother, Prince Albert. The Princes were both
young boys, accompanied by their tutor, and
seemed most interested in all that was taking place.
After the service, when I took them to see the
monuments, the Prince of Wales revealed some
BACH'S G MINOR FUGUE 249
judgment of the sculptor's art. The tomb of Sir
Cloudesley Shovell bears a fine representation of the
scene of the Shipwreck at the Scilly Isles, where
the Admiral lost his life. They looked at this with
interest. But above is a terrible figure of the
Admiral, in a recumbent position, with a full-bottomed
wig of the time of Charles II. and very little
clothing. Nothing more unlike a great sailor could
be imagined. The Prince of Wales looked at it for
a moment, and then turned away, saying, "What
an ugly monument." The ill-conceived figure of the
half-naked Admiral quite outweighed the carved picture
of the wreck.
An interesting visitor to the organ-loft put in an
appearance during the War, while I was playing
the voluntary after service. An officer came up the
stairs, and stood by me. As I finished, he asked me
to play Bach's G minor Fugue, saying he was devoted
to music, and to this great specimen of organ music in
particular. I excused myself on the plea that I was
tired, and should have to practise it a little before-
hand. He could not conceal his disappointment, and
answered that he was off to the Front the following
day, and would have liked to hear his favourite work
for the instrument. At this, I said, "Well, if you
come back, and are able to tell me that you've killed
ten Germans, I'll play you the Fugue any day."
Some months later, while I was away in Scotland, the
same officer re-appeared in the organ-loft, considerably
to the surprise of my assistant, and inquired for me,
explaining that he had come to ask me to redeem my
promise. " But," said my assistant, " have you, on
your part, killed those Germans?" The reply was
quiet, but forceful: " I don't know about that, but I'm
going to Buckingham Palace to-morrow to receive the
V.C." ! He heard that Fugue.
250 A WESTMINSTER PILGRIM
The Abbey and its music had for some years an
enthusiastic visitor and admirer in a Lancashire collier,
whose exemplar surely was lyth-century Thomas
Britton, the musical small-coal man of Clerkenwell, of
whom John Hughes wrote :
Tho' mean thy rank, yet in thy humble cell,
Did gentle Peace and Arts unpurchas'd dwell,
verses that might not inaptly fit my collier. I made
his acquaintance through the Purcell Festival, when
he wrote saying how glad he was to hear that
we were going to erect a monument to Purcell, and
enclosing a subscription of los. 6d. I showed the letter
to the Dean, who sent the miner two tickets. He
attended the Festival, and afterwards became a
frequent visitor to the Abbey. He always made it a
point to attend the great football matches at the
Crystal Palace when a northern team was taking part ;
going to see the football, but also never failing to
come to the Abbey. And not only at the Abbey did I
see him, but frequently at my lectures at Manchester
and in the neighbourhood. He would occupy a front
seat, and was a most attentive listener. On a more
notable occasion, viz., a rehearsal in Church House of
the music for King Edward's Coronation, sure enough
there was my collier sitting in the gallery, for which
he had paid half-a-guinea. I would often take him
with me into the music room at the Abbey to the
choristers' rehearsals, and he seldom left them without
a really generous " tip." Having been a chorister
myself, I had known the lure of this form of Coda, and
the blissful orgies latent in half-a-crown. So I was
not disposed always to be repressive. On one
occasion, in taking leave, he said to them, " I
shall think of you to-morrow when I am hundreds
of yards underground." I was really sorry to hear
of his death, two or three years ago.
CHAPTER XXII.
Royal College of Organists Dr. Turpin National Training School
Sullivan as a Teacher of Counterpoint Dr. Prout as Orchestral
Critic Royal College of Music Professorial Appointment
suggested by the Prince of Wales Death of Sullivan
Joachim and the Examination Paper Trinity College Tour
with Dr. Me Naught.
MY readers have now accompanied me along the broad
path of my pilgrimage, in which a loose chronology has
permitted me to move freely between salient points.
I now propose, as a pilgrim may, to return to some ol
these, devoting to them some chapters under their
aspects of Activities and Incidents. The latter are
of passing moment, and largely retrospective. The
former become prospective, carrying my pilgrim way
beyond these pages, for in their midst I still bear staff
and scrip while the journey and its toil are pleasant.
Prominent among my activities has been my
participation in the work of those institutions
charged with the conservation of the art of music.
One of the first of the corporate examining bodies
with which I became associated before coming to
Westminster was the College of Organists. Queen's
Square, Bloomsbury, saw the modest beginnings,
upwards of half-a-century ago, of the institution
that has conferred untold benefits upon numbers of
executive musicians. When R. D. Limpus, in 1864,
projected the scheme that was destined so soon to
take its place in the forefront of musico-examining
bodies, he could not have foreseen the rapid appreciation
of its diplomas in the ranks of the profession. The
252 A WESTMINSTER PILGRIM
College has occupied various sites since its foundation,
and is now housed in the commodious premises at
Kensington, vacated in 1894 by tne Royal College
of Music.
The examinations of the College are held half-yearly,
candidates for the Fellowship being required first to
have secured the diploma of Associate, or to be
musical graduates of a University.
In the early days of the College a Conversazione
in connection with its examinations was held in
Freemasons' Hall. Some excellent music was given,
and among other items I heard for the first time
Bach's Fugue in D minor for violin solo, admirably
played by Louis F. Ries. The Organ prize composi-
tions were afterwards played by James Higgs at
St. Michael's, Cornhill. By attending the meetings of
the College I made the acquaintance of many of the
leading organists of the day, many of whom combined
to give me a cordial welcome when I was appointed to
the Abbey. I am glad still to be able to take part in the
activities of an institution of which I am, I believe, at
this moment its oldest member if not in age, in date of
election, having passed the examination for Fellowship
in 1867, being elected President in 1901. The College
was incorporated in 1893, with a Royal Charter.
The Archbishops of Canterbury and York are
Patrons, a fact which should have some interest in
connection with the Report of the Archbishops'
Committee, considered in a later chapter. The Bishop
of London is also a patron.
One of my friends connected with the College of
Organists was Dr. Turpin. He accepted the secretary-
ship on the death of Limpus who, as I have said,
had practically founded the College and carried on the
work with success. He was a modest, simple-minded
man, without any side or pretentiousness, and had
EDUCATIONAL ACTIVITIES 253
the gift of being an entertaining and lucid speaker.
Both at the College, and at Trinity College of Music,
of which he was for a long time Warden, he did great
work. It gave him a good deal of amusement when I
set to music Sam Weller's " wild and beautiful legend "
in " Pickwick," " Bold Turpin vunce on Hounslow
Heath " with its episcopal refrain :
" And the Bishop says, ' Sure as eggs is eggs,'
This here 's the bold Turpin ! "
for a College of Organists' dinner, dedicating it " to
my friend Dr. Turpin." I have already referred to
this song as having been written on the banks of
the Spean.
Dr. Turpin had much to do with getting the buildings
formerly the home of the National Training School of
Music, and later of the Royal College of Music, trans-
ferred to the Royal College of Organists. In this he
was greatly aided by the efforts of an old pupil of mine,
Dr. Sawyer, who succeeded Turpin as secretary of the
College. Alas ! he held office only for a few months.
He died whilst I was absent in Canada.
My connection with Owens College, Manchester,
was necessarily severed when I came to Westminster.
After a short time, however, I was able to resume my
educational activities by being appointed to the
teaching staff of the Crystal Palace School of Music,
and the National Training School of Music at South
Kensington.
The latter institution was founded in 1873.
Originally projected in 1854, it was not until twenty
years afterwards that the idea put forth by the
Prince Consort took definite shape, when, at a
meeting at Clarence House, presided over by Prince
Alfred, a Resolution was passed that it was desirable
to erect a School of Music at a cost of ^25,000.
It was recommended that the building be erected
254 A WESTMINSTER PILGRIM
at Kensington, in connection with the Society of Arts.
Built by Sir Charles J. Freake, at his own cost, the
School was opened at Easter, 1876, and continued
to flourish until Easter, 1882, when its activities
ceased under the above name. In May, 1883, as
the outcome of a meeting held at St. James's Palace
in February of the previous year, it was reconstituted,
thenceforward to be known as the Royal College of
Music, being granted a Charter of Incorporation
in 1893.
My work at the National Training School was
teaching the organ, one of the students being Mr. W. G.
Alcock (now Mus. Doc., M.V.O.), for many years my
very clever assistant and loyal colleague at the Abbey,
now (since 1916) organist of Salisbury Cathedral.
Sir John Stainer took the harmony classes, and
Sir Arthur Sullivan taught counterpoint. Sullivan
was director of the School for several years, being
followed in this office by his friend Stainer. For
a time I undertook the orchestral rehearsals, which
proved very enjoyable. I have already spoken of
Mr. Visetti as being the only surviving professor,
along with me, of the staff of the old school still
among the professorial staff of the Royal College.
Mr. Visetti has brought his study of all that pertains
to voice to a high pitch of perfection. His discernment
of the potential singer is very keen, and more than
once an unfavourable opinion of mine, expressed to an
inquiring student, has been reversed by him with the
best possible results.
Sullivan, as I have said, took part in the teaching.
He had a delightful method of imparting instruction,
and it was impressive to observe his painstaking use of
the blackboard while giving a lesson in counterpoint.
One of the staff at the National Training School
was Ebenezer Prout. I first came to know him at
PROFESSIONAL RIVALRY 255
Windsor, when he brought down a choir of which
he was conductor. They were a very efficient
choral body, and sang a fine selection in St. Mark's
School. Then I lost sight of him for some time.
My exercise for the Mus. Doc. degree at Oxford
was a short Oratorio (afterwards published), and Prout
happened to review this work in one of the musical
papers, his critical remarks being extremely kind and
candid. We corresponded after this, and when I
came to London were not long in renewing our
acquaintance.
He was a man possessing an extraordinarily wide
knowledge of music, and always ready to hold out
a helping hand to students. I was indebted to him for
valuable advice in the scoring of my first work for
Westminster Abbey, a setting of the Canticles for the
Caxton Celebration. As fellow-teachers at the National
Training School we saw a great deal of each other.
He was a very amusing, cheerful man, with a dry
strain of humour, which recalls a delightful passage
of arms that we had in connection with a Musical
Society of which I was conductor, the Highbury
Philharmonic. Prout was conductor of the Hackney
Choral Association, and there was a little rivalry
between us that gave a fillip to our rehearsals. But
Prout's was a professional band, while mine, unfor-
tunately, was an amateur organization. Now there is
nothing more terrible than a real amateur band. It
demands from the conductor all his patience, good
temper, and skill to make things go, and then he will
not achieve results other than the " restless panting of
their being." How different when he has at his
disposal a complete orchestra of professional men !
Accidents were always happening at our concerts, and
generally with the band. On one occasion our leading
'cellist broke his A string whilst tuning up, and had not
256 A WESTMINSTER PILGRIM
got another with him : the timpanist dropped his drum-
stick at the reverberant moment when an important
roll on the side-drum was the only thing supposed to
be going on always there was something like this
to be encountered.
Prout came to our concert one night, and a few
such incidents occurred, quite casually, like items in
the programme. They amused him very much ; more
so than the performance, and he went home and wrote
me a poetical effusion about them. I retaliated by
sending him some stanzas portraying the feelings
of my orchestra at seeing Prout sitting below, and
their sentiments towards himself. One of the verses
I recollect well :
Poor Oboe and Clarinet
Shake like ten thousand reeds,
Whilst 'Cello breaks his string the A,
And misses all the leads.
To return to the National Training School : The
engagements of the professorial staff terminated
with the transition period of the School, in April,
1882, but in March, 1883, I was very pleased at
receiving a letter from Sir George Grove, the new
director, in which he said : " I have now the
pleasure to convey to you the hope of the Prince of
Wales [King Edward VII.] that you will take the post
of Professor of Counterpoint in the Royal College ot
Music, with a seat at the Board." In expressing my
thanks to His Royal Highness and to Sir George, along
with my willingness to undertake the duties and
obligations attaching to the proffered position, I
ventured to add that it was a post that I should be
proud to hold.
The sphere of usefulness of the College is enhanced
by the administration of a Patron's Fund (King
George is patron of the institution) of ^27,000,
SULLIVAN AS ORGANIST 257
generously placed at the disposal of the Board by
Sir Ernest Palmer, for the encouragement of com-
position by the younger British composers.
Sullivan relinquished the direction of the National
Training School in 1881, but I by no means
lost sight of him. He lived in Victoria Street,
close by me, at Westminster, and would frequently
come down to the Abbey when we did one of
his anthems. Having been educated as a chorister,
with much the same training as myself, he had an
intimate knowledge of the requirements of Church
music, and although he had chosen a path outside
the ecclesiastical world, he retained his skill in organ-
playing. On one occasion, when hearing him play
at a wedding, I was delighted with his powers ol
extemporisation, which were called forth by the late
arrival of the bride.
Elsewhere I have referred to the Duke and Duchess
of Marlborough visiting me in the organ-loft at the
Abbey. This they did very frequently at the time
when the Duke was erecting his new organ at Blenheim
Palace, and I found His Grace to be exceedingly acute
in some of the questions that he put concerning stops
and mechanism. An outcome of these visits was
that Sullivan and myself were guests of the Duke at
Blenheim for the opening of the organ there, when
Sullivan supplied accompaniments for some of the
vocalists, and also extemporised very ingeniously.
We were a very merry party in the historic palace.
Sullivan was a delightful companion especially wrnn
I could get him out for a walk ; but I think that as a
rule he preferred whist to Bridge.
Sullivan, it is well known, had a pretty turn of wit.
At the Old Madrigal Society one night he scored off
rne in his droll manner when he was President with
of course the privilege of speaking. I blew the note
s
258 A WESTMINSTER PILGRIM
as usual on the pitch-pipe for the madrigal to begin,
and then said, as a cue to the members "A minor."
Sullivan promptly asked me how I blew a pitch-pipe in
the minor key !
Living as he did close by me at Westminster, the
news of his lamented death reached me very quickly.
Thus it was that, within an hour of his passing, I stood
contemplating in deepest sorrow the poor fragile frame
that so lately had been the repository of so brilliant
a genius. I was honoured in being asked to be a
pall-bearer at his impressive funeral at St. Paul's,
accompanying Sir John Stainer. On our way Sir John
said to me, "This is really a great tribute to music,
his being buried at St. Paul's." Alas ! Stainer was
destined all too soon to follow his life-long friend to
the silent land. Interred in Holywell Cemetery,
Oxford, his memorial is set up in St. Paul's, close to
that of Arthur Sullivan.
The examinations at the Royal College afforded
me many opportunities for meeting Joachim, whom
also I met at a University examination at Cambridge.
He always struck me as a pleasant and amiable
man, of assured dignity, and possessing absolutely
no " side." Once he afforded me considerable
amusement at a certain examination when there
was a question on the paper that neither of us
could readily have answered. Said Joachim to me,
"I don't know much about this, I must look it
up when I get home " ! I thought this a delightful
admission from a musician of his distinction.
Trinity College is another important centre of musical
instruction with which I early became connected. It
was founded shortly after the Royal College of
Organists, and affords an example of what may be
accomplished by wisely conceived administration. For
many years I held the office of Honorary Organist,
A WORLD-WIDE USEFULNESS 259
but did not take any active part amongst the professorial
staff. Later I accepted the position of Chairman of
the Board, and rejoice to see the expanding usefulness
and continued advance of the College. Its extensive
buildings in Mandeville Place are admirably arranged
for the purposes of a teaching institution, while its
very complete syllabus and excellent staff of professors,
along with a liberal time-table designed to meet the
needs of day and evening students, make it a desirable
centre for the acquisition of a complete musical
training. The number of students now attending the
College is well over four hundred.
The most remarkable success of Trinity College
was gained by its being the first to see the necessity
for establishing local examinations in music. This
was in 1877. Since that time many other examining
bodies have followed this splendid lead, the most
important being the Associated Board. The zeal
and enterprise that so quickly covered the ground
in the United Kingdom enabled Trinity College
to organize and establish a wonderful network of
examinations whose standard has been consistently
maintained throughout India, Australia, New Zealand,
South Africa, Canada, South America, &c. By thus
testing the educational work in music that is being
carried on in the cultured communities throughout such
a vast area, and referring it continually to the high
standard demanded by its diplomas, Trinity College
applies an impetus to artistic progress whose poten-
tialities cannot be measured. That its examinations
have a sterling currency in the educational world is
evidenced by the fact that last year upwards of thirty-
five thousand candidates presented themselves for the
College diplomas and certificates.
During the war period the examiners of the College,
undeterred by the nefarious submarine peril, traversed
260 A WESTMINSTER PILGRIM
thousands of miles of ocean, and succeeded always in
carrying out their important duties. It is an honour
and privilege which I greatly esteem to be associated
with the direction of this admirable institution.
I have never done much work as a travelling
examiner, such employment being for me very
fatiguing. On one occasion when Sir John Stainer
was incapacitated through illness, I accompanied the late
Dr. McNaught for a week on one of those whirlwind
examination tours in which his soul delighted. The
genial Doctor was Sir John Stainer's assistant, but
I believe Sir John's physical make-up could not
support the fierce bouts of "inspecting" that
seemed to be the breath of life to McNaught. My
week with him is a nightmare, in which processions of
candidates come and go endlessly; in which we seem
always to be boarding trains by the smallest margin of
safety; in which night brings no rest, for we have to sit
far into the small hours making up returns and preparing
for the morrow ; and generally the whole thing proceeds
at breathless speed, and the problem emerges in all
its stupendous proportions. I remember telling my
companion that it really had been the hardest week's
work I had ever done, and I would not undertake his
job for .5,000 a year.
McNaught was entirely unruffled, and always seemed
to have absolute mastery of the situation, working with
extraordinary devotion and celerity, yet never revealing
the slightest impatience. He even found time to fit in
some journalistic work, and to conduct a publication of
which he was editor. This he achieved from the end
of a wire, and by ways and means of speeding letters
through the post in the shortest possible time unknown
to ordinary mortals.
I sometimes wonder if any of the youthful aspirants
who then passed before me ever attained to a musical
A TREMENDOUS FIGHT 261
degree. If so, the tremendous fight in which at
about this time I found myself involved against some
proposed alterations in the Statutes relating to musical
degrees in the University of Oxford may have been
for their benefit. In 1898 it had been proposed that
the Hebdomadal Council should rule that no candidate
might proceed to a degree in music unless he had first
taken the degree of Bachelor of Arts. This would
have entailed compulsory residence at the University
for a period of three years, and would have meant that
the musical profession was practically barred from
taking the Oxford degree. It was urged by those in
favour of the proposed change and I confess the
reason seemed valid that the status of the musician
would thereby be raised, so that he would rank with
graduates in other faculties. But under the scheme,
as I pointed out, there would be no graduates to enjoy
the advantages of this enhanced and assured status,
for its effect would be to drive away from the University
the talented young musician without means. Further,
as I proceeded to show, the University having made
no provision for the technical training of its students,
it was not apparent that any practical benefit could
ensue from compulsory residence.
My fundamental objection, conceived in the interests
of the musical profession as a whole, lay in the fact
that the proposal was inconsiderate and constituted a
real hardship. Prosecuting my opposition with all the
ardour I could muster my old friend Dr. Southgate
who dearly loved a fight, lending me strenuous and
valuable assistance I proceeded to Oxford, and
waited upon many heads of Colleges and members
of the Hebdomadal Council with whom the decision
ultimately rested. I even ventured to point to my
own experience as an argument in favour of retaining
the old and proved system that had survived the test of
262 A WESTMINSTER PILGRIM
four hundred years, for it seemed to me that my
career had brought no discredit on the University or
its degree.
Sir John Stainer and Prof. Prout were also opposed
to any change in the Statutes. At a meeting of the
Union of Graduates in Music, held at the College of
Organists in October, 1898, when I brought the matter
forward as one affecting the ancient privileges of
musicians, my old friend Prout spoke strongly in
favour of my motion. He said :
" I may say that I am personally very cordially
in favour of Sir Frederick Bridge's protest. . . .
I have listened with a great deal of interest to
Mr. [now Sir Henry] Hadow, but neither he nor
anyone else has touched upon what I consider one
of the most important points in this matter. . . .
He says this change will raise the value of the
degree. Granted that it will, he has overlooked
or, at any rate, he has not met the objection, that
it will exclude the very class by whom the degree
is most wanted, I mean the great body of pro-
fessional musicians."
Prout did not take the view that lack of means would
be the sole deterrent. The gravamen of his opposition
lay in the fact that whereas in the case of law, or
medicine, &c., a man did not begin seriously to work at
his profession until he was through his college course, in
music the great majority began their professional career
actually during boyhood. He went on to say :
" If this proposal is carried, it will practically
shut out the musical profession as a whole . . .
for they had not got the time to give two or three
years to college when they ought to be earning
their living and beginning to work at their
profession."
DEGREES WITHOUT RESIDENCE 263
And he added : " For these reasons I think the change
is decidedly harmful"
The outcome of the efforts that I initiated was very
satisfactory, for the Hebdomadal Council rejected the
proposal.
Some years later the matter was again brought
forward, but with many important differences, one of
which was that candidates could observe the Statute
concerning "residence" by attending for a prescribed
period certain recognised colleges in London and
elsewhere. I did not feel inclined to oppose this,
especially as, following the first Oxford proposal in
1898, the University of Durham had instituted musical
examinations without residence, thus affording an
opportunity for young musicians to take a degree. The
original scheme would, however, have constituted a
drastic change without any compensating advantages,
and I am glad at having had so much to do with keeping
it off the Statute book of Oxford.
CHAPTER XXIII.
Gresham Professor Fraternal Visit of London University to the
University of Paris Imperial College of Science : Laying
Foundation Stone by H.M. The King Royal Choral Society
Conductorship, and a Letter from Sir George Grove Prout
as a " Toucher-up " - Joseph Bennett and Mozart Royal
Philharmonic Concerts.
A SHORT time after the episode related in the last
chapter, I was elected to fill the vacancy in the
Gresham Professorship of Music. The circumstances
are already described at page 147. A resume of the
origin of this Professorship, and a brief glance at my
predecessors in the office, may here be opportune.
Sprung from the Greshams, of Gresham a town in
the hundred of North Erpingham, in Norfolk Thomas
Gresham, English merchant and ambassador, was first
among the merchant princes of the i6th century. Also
he was a scholar, trained under the auspices of the
learned Dr. Caius, founder and sometime master of
Caius College, Cambridge. We read of him that at
the age of thirty "the polish of his manners had
attained its perfection, and so noted was he for that
trait invaluable if we seek to get on in this world
that when the Court wished to make an impression on
foreigners Thomas Gresham was ordered to receive
and entertain them."
His first public honour was to be made " King's
merchant" to the young King Edward VI. ; and " My
merchant" Queen Elizabeth called him, when sh?, the
illustrious guest who should declare the grand edifice
open, inaugurated Gresham's munificent gift to the
City, the Royal Exchange.
SIR THOMAS GRESHAM 265
Knighted by Elizabeth in 1559, he built a fine
mansion in Bishopsgate, and probably settled down to
the maturing of those plans by which, making the
nation his heir, he created and bequeathed a trust
vested in the Corporation of London and the Mercers'
Company for the purpose of founding a College for the
cultivation of the arts and sciences. Provision was
made for the accommodation of seven professors,
suitably endowed with stipends, one of these being the
Chair of Music.
The first of my predecessors in the Gresham
professorship, and probably the most eminent, was
Dr. John Bull. He was appointed in 1596 on the
recommendation of Queen Elizabeth, and resigned
on the occasion of his marriage. The explanation is
found in the fact that under the foundation the
Gresham professors enjoyed apartments in the College,
an arrangement that continued till the reign of
George III., when by special Act of Parliament it
was set aside, and an augmented stipend took the
place of this provision.
Surveying the list of occupants of the chair, it is
curious to note their varying qualifications for the office.
Thus we find that Thomas Clayton, who succeeded
Bull in 1607, was a doctor of medicine. The Church
supplied the next professor, in the person of the
Rev. John Taverner, who entered upon his duties in
1610, to be followed, in 1638, by Richard Knight, who
is described as a physician, whose successor, Sir
William Petty (the progenitor of the noble family of
Lansdowne), appointed in 1650, was also a doctor of
medicine.
Petty was a remarkable man. Exhibiting extra-
ordinary precocity from childhood it was said of him
that at twelve years old he could have worked at the
trade of watchmaker, joiner, or smith at an early age
266 A WESTMINSTER PILGRIM
he went to sea. We read that such was his proficiency
in navigation that he excited the envy of his fellow
seamen, and they put him ashore on the French coast,
inhumanly deserting him with a broken leg. But his
extremity proved a blessing in disguise, for he was
able to establish himself in France, and, while earning
a livelihood by teaching English and navigation,
he rapidly acquired a brilliant knowledge of French
and was able to enter as a student at the University
of Caen. Later we hear of him being back at sea,
this time in the Navy ; then learning attracted him
again, and he went to Utrecht and Amsterdam,
thence to the University of Leyden, whence he
migrated to Paris, where he formed an intimacy with
Mersenne. Returning to England in 1646, he devoted
himself to business and invention, striving to effect
improvements in textile machinery. Also he found time
to write a Treatise on Education, and to obtain the
degree of Ph.D. at Oxford. He was one of the original
members of the club which, under the patronage of
Charles II., blossomed forth as the Royal Society.
Pepys was a great admirer of Petty, as witness his
remark, "But above all I do value Sir William Petty."
In twice declining the honour of a peerage, Petty gave
as his reason that he would "sooner be a farthing
of intrinsic value than a brass half-crown, how gaudily
soever it might be stamped and gilded." He was
once challenged to fight a duel, but his opponent,
Sir A. Brodrick, was made to see the absurdity of this
mode of settling a difference when Petty, on account
of his defective vision, stipulated for " axes, and a
dark cellar."
Medicine may have been deemed a qualification for
the office, for ten years later still another doctor and
knight of the pestle followed in Sir Thomas Baynes, but
we learn that he was removed from his professorship
GRESHAM PROFESSORS 267
by vote of the committee. The Church supplied the
next two occupants in the persons of the Rev. John
Newey and the Rev. Dr. R. Shippen, in 1696 and 1705
respectively, the latter being also Principal of
Brasenose, Oxford. Then there was a reversion to
medicine when, in 1710, Dr. Edward Shippen was
appointed. Next the law was drawn upon, John
Gordon, barrister, being elected in 1723 ; and in 1739
two names appear, Thomas Browne, Fellow ot
Trinity, and Charles Gardner, Browne apparently
being disqualified by an equality of votes. Thomas
Griffin, in 1762, an organ-builder, was followed by
Theodore Aylward in 1791. Aylward was organist of
St. George's Chapel, Windsor. An important name is
that of R. J. S. Stevens, the prolific writer of glees
and part-songs, who was elected in 1801. It was
Stevens who, in 1832, when S. S. Wesley submitted his
anthem, ''The Wilderness," for the ^5 Gresham Prize,
in rejecting it said it was " all very well, but not
Church music."
Stevens' choice of Shakespearean words for his
glees was largely the outcome of his friendship with
Mr. Birch, a pastrycook and confectioner of Cornhill.
Birch was, I suppose, a good confectioner. He was
also a great admirer of Shakespeare, and seems to
have imbued Stevens with a like enthusiasm. Some
interesting circumstances centre around Birch. The
house that he lived in still stands, being the
well-known and well-patronised establishment of
Messrs. Ring & Brymer, who supply many of the City
banquets. Birch entered municipal life, ultimately
becoming Lord Mayor of London. There is a
probability that a connection could be traced between
his having held this dignity and Stevens' obtaining the
Professorship, for, as Chairman of Gresham College,
Birch would probably be able to wield some influence.
268 A WESTMINSTER PILGRIM
Edward Taylor, the first of the Victorian
professors, was appointed in 1837, an( ^ m this choice
it may be said that his electors compensated in
a great measure for the errors of their predecessors.
By profession he was a civil engineer, but this
he abandoned in order to devote himself to music,
the success he obtained as lecturer, adapter, translator,
and musical critic justifying the step thus taken.
From the outset he took a serious view of his
responsibilities as Gresham Lecturer, and aimed
at a general diffusion of knowledge which would
interest and instruct the public. Prof. Taylor
composed an Ode for the opening of the new College
buildings in 1843. He was the first president of
the Purcell Club, and the founder of the Musical
Antiquarian Society.
Spohr visited Taylor, who had translated the
" Crucifixion." He wished to hear an English glee,
so Taylor invited to his house several of the
Lay- Vicars and choristers of the Abbey, who sang a
selection of glees for Spohr's entertainment, he in turn
delighting the company with a performance on the violin.
My immediate predecessor, Henry Wylde, Mus. Doc.,
succeeded Prof. Taylor in 1863, and held the professor-
ship for twenty-seven years. Two years before his
appointment Wylde had been associated with the
foundation of one of the principal teaching institutions
in the Metropolis, the London Academy of Music, and
for many years he conducted the annual concerts of the
New Philharmonic Society. An enterprise launched
at his own expense was the erection of St. George's
Hall, which was opened in 1867. He was one of the
jurors in the musical section at the Exhibition of 1851.
In the year 1905 I was elected a member of the
Athenaeum under Rule 2, which waives the necessity
for a candidate's name being submitted to the ballot.
THE UNIVERSITY OF PARIS 269
Mr. Otto Goldschmidt came down to me at the
Cloisters, conveying the agreeable intelligence ; he
said that when he was elected under the same Rule,
his wife remarked that she thought it was the greatest
honour that could possibly have been done to him.
At page 195 reference is made to my appointment to
the King Edw r ard Chair of Music in the University of
London. In May, 1907, the University paid a fraternal
visit to the University of Paris, when, as a member of
the Senate, I had the honour and pleasure of
being one of the delegates. The occasion was made
most delightful by our friends of the Universite, who
lavished upon us all their country's exquisite genius
for gracious hospitality. We were a large party,
including many ladies. The official proceedings began
with a reception in the great hall of the Sorbonne,
that ancient College dating from the days of Louis IX.
(St. Louis), which later in the iyth century came to
flourish so as even to challenge the supremacy of the
Universite itself. We were met by a body of repre-
sentative professors, wearing the robes of their degrees,
and welcomed on behalf of the French Government
by M. Briand, and by M. Liard, who, as Vice-Rector,
spoke in the name of the Universite. Sir Edward Busk,
Vice-Chancellor of the University of London, Sir
William Collins, and others, made suitable replies.
Other speakers followed, and the company adjourned to
the Hotel de Ville, to be entertained at dejeuner by the
Municipalite of Paris. Numerous toasts and speeches
notably by M. Pichon and Sir Francis Bertie
attended this function, which was further enlivened by
selections played by the band of the Municipal Guard.
We next visited Versailles, our hosts providing a
special train from the Gare des Invalides. In the
Trianon we heard a concert of ancient music, agreeably
rendered in appropriate surroundings on a choice set
270 A WESTMINSTER PILGRIM
of old stringed and keyboard instruments. Returning
to Paris we attended, along with a number of repre-
sentatives of the University of Paris, a reception given
by Sir Francis Bertie at the British Embassy. The
following day there was a special train to Chantilly,
and other functions agreeably arranged by our hosts,
prominent among which were visits to the Universite
and other representative educational centres of Paris.
The next day opened with a visit to the tomb of Louis
Pasteur, and to the Institute founded by the great
chemist and physicist, from the laboratories of which
have flowed so many beneficent gifts to mankind.
Prof. J. R. Bradford, in depositing a wreath on the
tomb of Pasteur on behalf of the University of London,
felicitously referred to the great honour of being the
bearer of the homage and admiration felt by his
University for Pasteur, and also to the cordial relations
of Pasteur and our own Lister. In the afternoon of
the same day, along with our French colleagues we
were received by the President of the Republic and
Madame Fallieres at the Elysee. M. Fallieres, in
addressing those assembled, spoke happily of the
great satisfaction that he had in being associated with
such a gathering of representatives of two distinguished
Universities such as those of Paris and London, and
made graceful reference to the " courteous reception
that His Majesty King Edward had extended to the
Universities of France." We were entertained at a
grand banquet at the Sorbonne in the evening, which
was attended also by the British Ambassador and
M. Briand. I had the pleasure of sitting beside Dr.
Saint-Saens, who, in spite of his years, bore himself
with sparkling vivacity, and was one of the lions of
the occasion. There were numerous toasts and
speeches. The banquet fittingly concluded with a
concert given in the Great Hall of the College, when,
INTERNATIONAL AMENITIES 271
under the direction of M. Gabriel Pierne, the fine
Colonne Orchestra was heard in a well-chosen
selection, and artists from the Opera-Comique sang. A
feature of the programme was some dances, charmingly
presented by a troupe under the direction of M. Paul
Vidal, comprising among other items a Gavotte of
Lulli, a Rigaudon of Dardanus, and a Menuet of
Handel. Dr. Saint-Saens won much applause by his
performance of his Fantasia for Pianoforte, " Africa,"
accompanied by the orchestra, and concluded the
programme by conducting a brilliant interpretation ot
Berlioz's " Marche Hongroise." The medal of the
University of Paris was conferred upon Dr. Saint-Saens
amid the prolonged applause of the audience.
We of the University of London dispersed with the
feeling that our visit had indeed proved a great success.
Ever in my mind are the pregnant words of M. Fallieres,
spoken at the Elysee, when he said that he was
persuaded that such rapprochements between the
representatives of learning of the two nations would
further the happiness and peace of the world and
enhance the prosperity and glory of the peoples. The
world has seen vast and momentous changes the
passing of great empires, the spectacle of a stupendous
drama whose end is not yet since that speech was
uttered at Paris twelve years ago. But its essential
truth is unchanged, and is susceptible of a wider
application.
A ceremonial attended with much eclat was that of
the laying of the first stone of the new buildings of the
Imperial College of Science and Technology, at
South Kensington, by King Edward, who was
accompanied by Queen Alexandra. This brilliant
function took place in July, 1909. The proposed
institution was close to my own University of London,
and when my friend Dr. Henry T. Bovey, the Rector
272 A WESTMINSTER PILGRIM
of the new College, came and asked me to provide
appropriate music to grace and assist the ceremony, I
greatly appreciated being selected for this honour.
Dr. Bovey was one of the many friends whom I had
met in Canada, where at his charming residence he
had entertained me with engaging kindness. His attain-
ments had procured his nomination to the important
post of Rector of this institution devoted to the most
advanced training and research in science, especially in
its relation to industry.
By permission of the Dean, the full choir of the
Abbey was able to attend. I arranged a representative
programme of glees, madrigals, and other part-music,
which found much acceptance in performance. At the
moment when His Majesty tapped and levelled the
stone, and declared it to be " well and truly laid,"
I conducted the choir in a setting of Joseph Addison's
magnificent hymn, " The spacious firmament on high,"
which I had specially composed for the occasion.
The College has well established its usefulness, and
in the early days of the War period I believe rendered
valuable aid to the country in assisting in research
work that was inseparable from the establishment of
those key-industries so essential to our national
prosperity.
I preserve with considerable pleasure my recollec-
tion of the part allotted to me in the proceedings.
Functions of this kind, and civic ceremonies, hold an
attraction for me, hence, when Sir George Truscott
who was also Master of the Musicians' Company
became Lord Mayor of London, I welcomed the
unusual experience of riding with other members
of the Ancient Company in the historic pageant.
Our raiment was meet for the occasion, comprising
gowns and cocked hats, and we thought we looked
very imposing. But at intervals, and during the
FROM EAST TO WEST 273
inevitable stoppages, we had to sustain the customary
Cockaigners' chaff as best we might. A picture that
I readily recall is of a portly dame somewhere in the
East City, bearing scaly evidences of her occupation,
smirking close to our carriage and saying with the
most engaging familiarity, " I'm sorry me an' me
'usbun' can't dine with yer to-night 'cos we've got
another hingagement." The bystanders were hugely
delighted, while we pretended to take no notice which
no human being has ever yet succeeded in doing.
Perhaps we only contrived to look annoyed.
It is a far cry from the Lord Mayor's procession
to the Albert Hall ; but so also is it from the
Gresham Lectures to the University of London.
From East to West the course of the sun is a
transit with which I am familiar, and do not find at
all difficult.
The Royal Choral Society had its inception in 1872,
by the amalgamation of a choral body founded and
conducted in 1871 by Charles Gounod, with Barnby's
Choir. From this emerged the famous organization
conducted for twenty-four years by Joseph Barnby.
First under the name of the Royal Albert Hall Choral
Society, and later, in 1888 (by command of Queen
Victoria), of the Royal Choral Society, it maintained a
high degree of choral technique and enjoyed a wide
distinction for its consistently distinguished perform-
ances of classic choral works. The fine traditions that
Barnby inspired have persisted after his death.
Subtle nuances of interpretation and ethereal delicacy
of vocal effects that are features of much modern
choral writing are, however, impracticable in the vast
auditorium of the Albert Hall, and with the huge
forces employed. Hence in a measure the general
adherence of the Society to those works in which the
choral picture may be painted in bold, rich, moving
T
274 A WESTMINSTER PILGRIM
outline and mass. Since accepting the office of
conductor in 1896 I venture to say that the pro-
grammes have been as varied as is possible having in
view all the factors that have to be considered, and
I think the progress of the Society would show
that its patrons have been well satisfied with the
standard of achievement maintained.
It is well known that for many years, as conductor
of the Royal Choral Society, I have discarded
altogether Mozart's additional accompaniments to
" Messiah." I had always looked askance at these
embellishments, and my objection to them was
crystallized by the following letter from Sir George
(then Mr.) Grove :
" Lower Sydenham, S.E.,
" September igth, 1896.
" DEAR BRIDGE, I don't know if you have yet
made out your Albert Hall programme, but wouldn't
it be a very interesting thing to do the ' Messiah ' with
the original accompaniments ? Mozart's additions,
though lovely enough, are additions ; and not always
in keeping with the original score. Suppose that
Wagner had been able to force on us his proposed
additions to the score of the Scherzo of No. 9 :
wouldn't it be a very nice thing to hear it as B.
wrote it ?
" The proportion of wind to string in the orchestra
was different in Handel's time from what it is now ;
but I believe that is no secret. Do think about it.
" I hope you are both quite well and have had plenty
of fishing and ' other delights.'
" Yours always,
" G. GROVE."
ADDITIONAL ACCOMPANIMENTS 275
To my mind, the gain in dispensing with these
accompaniments is immense. The beautiful effects
of the high trumpet parts in " Glory to God,"
omitted by Mozart ; the charming scoring of the
" Pastoral Symphony," with the divided strings,
and without the wretched alteration of the first
bar which is found in Mozart ; the glorious high
trumpet parts in the "Hallelujah Chorus," "Worthy
is the Lamb," and " Amen Chorus," always compensate
me for the loss of several really beautiful orchestral
touches by Mozart.
That this reversion to Handelian purity has not
detracted from the work as one to attract the public is
proved by the fact that the receipts have regularly gone
up during the last six or seven years. Some years ago
it was considered very satisfactory to get a house ol
500 or 600. This year (1918) " Messiah " attracted
to one performance little short of .1,000.
My old friend Prout had no misgivings concerning
"improvements," his energies and attainments finding
an outlet in providing embellishments for several of
Handel's oratorios notably " Samson," for the Leeds
festival of 1880 even Bach has not escaped, as witness
the Professor's words adapted to the "48."
Prout's zeal for musico-editorial touching-up brought
forth an amusing cartoon by Charles Lyall, in which
Prout, with a huge brush,* is depicted " a-touching-
up the old un','' the "old un' " being a suggestion of
the Handel monument in the Abbey. Another old
friend of mine, Joseph Bennett, is shown, clothed in
the majesty of the law, and adjuring the "toucher-up"
to move on.
Bennett, writing in the Musical Herald of February,
1899, in referring to one of my Gresham lectures in
'' Dipped in " Franz's patent " (Franz's " touchings-up " of Bach and
Handel are well known).
276
A WESTMINSTER PILGRIM
which it was proposed to deal with the subject of
additional accompaniments, said that probably I would
" show that Mozart was guilty of other things than
so treating the unisons of ' The people that walked in
darkness' as entirely to counteract the composer's
purpose. Handel set forth the idea of groping
POLICEMAN ]. B. " Hullo ! What are yer up to ? "
E. P. " A-touching-up the old un.' "
POLICEMAN J. B. " Yer mus'n't touch the moniments. Move on!"
about in the dark ; Mozart lit up the scene with
a radiance of harmony which, though exceedingly
beautiful, is entirely out of place and subversive."
Whatever may be said for the heresy which finds
.adherents, that Handel diverted or dammed-up the
HANDEL MONUMENTS 277
springs of purely English music, it must I think be
recognised that the mighty Saxon had the mental
acuity to perceive, and the genius to stimulate, the
latent potentialities of our countrymen for choral
performance. His oratorios must have been inbreathed
with the very breath of life to have gained their over-
shadowing ascendency which even now is hardly
challenged, while the majesty of some of his
conceptions, and the sure instinct of the nation in
turning to them for solace or jubilation in the great
hours of its history, presage a life for the master's
works that shall survive the lure of "additional
accompaniments " or the meretricious glamour of
" readings."
Arising out of these Handelian references, it is
interesting to recall that Handel was at one time
closely identified with Vauxhall Gardens, the famous
and fashionable resort though not in its later days
that existed till 1859. A rare print in my possession
gives a view of the Gardens which is interesting as
showing Roubiliac's fine monument to Handel erected
there. This valuable artistic and historical relic was
acquired by the Sacred Harmonic Society, and after-
wards was purchased by the late Mr. Henry Littleton.
It is now in the entrance hall of Messrs. Novello's
premises in Wardour Street. The sculptor has
represented the Master playing upon a lyre. Dignified
in conception and admirable in execution, this statue
has always seemed to me to be superior to the Abbey
monument. Roubiliac's other statues, in the Abbey and
elsewhere the Duke of Argyll, Sir Isaac Newton, &c.
are well known.
Probably the most striking portrait of Handel is, I
venture to suggest, a small bust by the celebrated
Staffordshire potter, Ralph Wood. A contemporary
of Handel, he may have modelled the bust from life.
278 A WESTMINSTER PILGRIM
I am the fortunate possessor of one of Wood's busts,
presented to me by my father-in-law, Mr. Reginald N.
Wood, of Bignall End, Staffs, who is a direct
descendant of Ralph Wood.
In my early years in London I was a regular
attendant at the concerts of the (now Royal)
Philharmonic Society. Cusins was then the conductor,
and I always thought that he did his work well.
Among my very clear recollections are some hot
disputes over the merits of the " Meistersinger "
Overture when it was first played. I became a
Director of the Society in 1882 (in the same year
that I was elected a member). At that time it was
not very flourishing financially, being really rather
difficult to carry on. I worked hard in helping to
maintain the status and influence of the old Society.
Particularly active co-workers in those years were
Charles Gardner, C. E. Stephens, Francesco Berger,
and W. H. Cummings. It is good to see how
this historic institution and link with the past has
survived, especially the precarious War period so
recently passed. I hope that it will flourish with
increased vigour for many decades to come.
Sir Julius Benedict was a fellow-director with me
when I was elected. He was extremely pleasant and
amiable, being particularly good to me when, quite
inadvertently, I permitted myself to be responsible
for a breach of a nice point of procedure that was
protected by rule. My friend Maas was singing at
one of the Society's concerts, and elected to perform a
scena from my cantata " Boadicea." No objection
was raised, nor was anything said to me till after the
concert, when, at a Directors' meeting, the matter was
brought up somewhat needlessly, I thought by one
present, as a breach of order. It then appeared that
there was a rule I suppose a very good one that
A STORM IN A TEACUP 279
the Directors should not have their own works
performed. I had neither known nor suspected the
existence of this rule. Sir Julius came to the rescue,
and, suave, reasonable and conciliatory, brushed the
matter aside.
Maas in borrowed clothes. By Charles Lyall.
Maas's concert experiences were rich in adventures.
The outcome of my friend's generously conceived
inadvertence was a storm in a teacup which beat
around me. He could describe with great humour and
280 A WESTMINSTER PILGRIM
delightful mimetic embroideries my consternation in
the matter, with which really I had nothing to do ; but
also he could describe an incident that took place on
one of his many provincial engagements that told
against himself. Upon arriving at the scene of a
concert he found that he had lost the bag containing
his evening clothes, and there was nothing for it but to
borrow a dress suit and etceteras from the landlord
and waiters. Thus, from divers sources, he assembled
a coat of generous length in the tails, and a pair of
trousers that, when he donned them, proved to be what
is commonly called "baggy." Now Maas was rather
particular concerning his clothes, and, nature having
decreed for him a sturdy habit, he had decreed for
himself always to be well tailored. How ruefully
he surveyed those trousers, creased like concertina
bellows ! The great difficulty, however, was the waist-
coat. None could be found to fit him at all events,
no waistcoat for evening wear till at last the landlord
remembered a wonderful garment (he was a stout man,
the landlord) garnished with an aggressive array of
huge red-coral buttons, and in this thing Maas had to
appear. Charles Lyall, who was a friend of Maas' r
made a sketch that delightfully seized the points of
this remarkable rig out.
CHAPTER XXIV.
Renewed Acquaintance with Maas An Operatic Effect that
Miscarried A Light Opera that was Lost to the World
Co- Director in an Opera Company Ganz as Entrepreneur
Fortuitous Intervention of a Sidesman A Ludicrous Faust.
MY renewed acquaintance with Maas began some little
time before the incident at the Philharmonic concert
previously referred to. For several years our paths
had taken different directions, and I had not heard from
him, till one day he suddenly accosted me at the organ-
loft door at Westminster. It need not be said that our
meeting was very cordial and then we fell to mutual
admiration : I at his having become first tenor in the
Carl Rosa Opera Company, he at my being chief-
musician of the Abbey. Momentarily the years had
slipped away, and we were boys again.
It is recorded of Whistler that magician in tonal
harmonies whose appeal is through the eye that he
would at times pause before his own imaginative works,
and ejaculate " amazing." With less justification
for such whimsical self-criticism, I could at times
find it in me similarly to appraise some of my own
undertakings and achievements. For my meeting with
Maas was indirectly to react upon my life in a rather
remarkable fashion.
For a few months I saw much of him. He came
to the Abbey at his own suggestion, and with the
complete approval of the Dean (he was persona grata
with the choir) took part in the memorial service to
General Gordon, when (as already recorded) he sang with
movingly beautiful effect, " Be thou faithful unto Death."
282 A WESTMINSTER PILGRIM
I often went to see him at the Opera. He was not a
great actor, his forte laying in his vocalisation and
interpretative powers. These, when employed with
Maas resourcefulness, gave me more artistic pleasure
than many of the foreign operatic stars, who, I am
persuaded, were (perhaps still are) often better actors
than singers.
Maas was particularly effective in Wagner's
" Rienzi," which was produced at Her Majesty's
Theatre in 1879. He had an amusing story to tell,
and he told it well, of his failure to make just the
effect that he had desired as the hero in this opera.
There is a scene in which Rienzi, clad in full armour
and mounted on his charger, sings exultantly :
Romans, arise, ye bold and dauntless nation . . .
Brandish your swords, their impious blood be shed !
while the assembled warriors beat a martial rhythm
in ringing clangour with sword on shield. Such is the
scene, and it was Maas' ambition to make it as
effective as possible by procuring a " fine tall animal "
to bestride in the panoply described, and so ensure a
noble spectacle.
He betook himself to Astley's Circus, and inter-
viewed the manager, who was sympathetic, saying he
thought something could be arranged. Maas was
careful to explain that it was very important that the
horse should be quiet, and would not bolt either into
the orchestra or into the wings at the sound of the
clashing swords. He left, with the understanding that
he was to return in a few days.
Making his way back, after the desired interval,
Maas was surprised as he entered the Circus to
hear an extraordinary series of noises shouting, as
though some one was trying to sing, and a harsh
clatter of blows proceeding from the stable. There
AN EQUINE REHEARSAL 283
he found a horse tied up, and on either side of the
animal an ostler each singing at the top of his
voice not exactly operatic songs ! and belabouring
at the same time, with a stout stick, a suspended iron
bucket. Maas with some difficulty stopped the din,
and then inquired, " What on earth are you doing ? "
To which they replied, " That 's all right, Sir, we're
giving him a rehearsal " ; and one of the men continued,
" He don't mind it a bit ! And what 's more, he 's
that clever ; if you just give the rein a twitch, like so
[illustrating the twitch], he will lie down and get up
again quiet as a lamb ! " And sure enough, before
Maas's wondering eyes, the beast salaamed with
equine solemnity.
This was too much for Maas. The idea of giving
the rein even an involuntary twitch, while reaching a
high note, and introducing into the midst of his song
the undulating motion that he had just seen, caused
him there and then to abandon the idea of the
circus steed. He had to content himself with the
staid old hack which had long sustained such roles in
the Company.
Maas was a man of many enthusiasms, and these
were of an infectious kind. He was able to impart
some of his zeal to me, being very anxious that I
should try my hand at writing a light opera. Mr. Carl
Rosa was quite willing to give me a chance. I too was
willing, but just then had no libretto, and at the moment
had in hand work for various Festivals. For the time
being I put the idea aside ; yet it was always latent,
for some years afterwards Maas and Carl Rosa had
then passed away I became for a short period a
Director of the Carl Rosa Company. This undertaking
was assumed at the special request of a friend (one of
my great friends in Manchester), Mr. Freemantle, the
well-known critic of the Manchester Guardian, who was
284 A WESTMINSTER PILGRIM
himself a Director of the Company. But I think his
persuasion was successful only because it fanned the
embers kindled long before.
However that may be, there I was, a co-Director in a
well-known and popular Opera Company. " Amazing ! "
On the Board, at the same time, was Wilhelm Ganz,
with whom I became very intimate. In matters con-
nected with opera-singers and opera generally, Ganz's
special knowledge and experience were unassailable.
I formed a high opinion of his judgment, and always
thought it to be good and honest. It is true that
he tried to persuade me to embark on an operatic
career, and actually furnished a libretto. I even wrote
several numbers ; but after a time found it impossible
to combine this pursuit with my many other avocations.
It became necessary to relinquish the work, and shortly
afterwards also my Directorship. So my operatic
masterpiece was lost to the world.
If Ganz's special knowledge would have seemed to
err in my own case, I am not disposed on that account
to vary the opinion of his judgment which I have
expressed. Whatever his sagacity, however, in his own
special line, his enthusiasm occasionally carried him
out of his depth, when he found himself directing
operatic forces in a terrain which he had not surveyed.
He was much employed in furnishing operatic artists
for society functions, and on one occasion undertook
the direction of a company of opera-singers (Italian
tenors and the like) for an important wedding in
St. Margaret's, Westminster. Ganz's troupe were
much impressed, after their manner, with the renown
that would attach to the ceremony from their presence,
and proposed to give a sort of sacred concert in
the church before the service. Archdeacon Farrar
(the rector) had apparently not been notified concerning
these extraordinary proceedings. A young sidesman,
"ME WILL SING HEAH" 285
however, got wind of them, and went to see what
was afoot. He was a friend of mine, and told
me all about it. When he arrived the arrangements
were well advanced for conducting the rehearsal.
The singers were there, and the instrumentalists,
very prominent among whom was a harpist ; and
of course they proposed to employ the organ. Deter-
mined upon making a gorgeous effect, they were
taking up commanding positions in the chancel, and my
friend the sidesman was horrified to find the principal
tenor standing at the North side of the altar, where
he pompously announced, " Me will sing heah " /
Striding up to him the sidesman quietly but forcibly
said, "That you certainly won't," and at once a
bombshell was dropped into the preparations. Had
the incident occurred elsewhere than in a church, the
excitement might have run high. Even as it was,
my friend's difficulty was exceedingly great in dealing
with these warring stars and the fashionable company
present. He had to threaten to send for the Archdeacon,
and in fact did so, but not before a very great lady (the
mother of the bride, he supposed) had said certain
things to him in a way that only great ladies can.
However, Archdeacon Farrar arrived, and with quiet
authority settled the matter properly. The troupe, and
the harp, and the company with all kinds of music,
were hidden away near the organ, much to the relief of
poor Ganz, who, himself quite reasonable directly the
nature of the sidesman's objections was explained to
him, dreaded the effect upon the very touchy team he
was driving. He told me afterwards that he would
rather direct fifty operas than one wedding. I pointed
out that evidently he knew more about operas and
theatres than he did about weddings and churches, and
suggested that in future he should leave these with me.
Ganz genially conceded that I was right.
286 A WESTMINSTER PILGRIM
To return to Maas. A story concerning a well-
known actor of his day, George P , was told to
me by my friend. As I have said, Maas could enjoy
turning the laugh against himself, but also he was
swift to see the ludicrous where others were con-
cerned. Yet he was a lovable soul, and set nothing
down in malice.
p was taking the title-role in Gounod's " Faust."
The contretemps to be related occurred at the moment
when the actor's beard and stage-wig are whisked away
down a trap-door, and, relieved of the trappings of
senility, the young and joyous Faust steps forward
into the limelight in the bloom and beauty of youth.
The opera had pursued its wonted course up to this
point, P had placed himself in position near
the trap-door, and the super who worked the change
awaited his cue. It came. His hand shot out, but he
grabbed more than was prescribed, for lo ! there stood
revealed a perfectly bald Faust, lacking even a tonsure.
The zealous super had dragged away the actor's own
private wig along with the hirsute property guise.
P realised the situation in a flash, and swiftly
reclaimed his wig from the disappearing hand of the
super. But the audience had seen, and, as audiences
always relish unrehearsed effects, it roared, and rocked
itself with delight even after P had replaced
his locks and resumed his impressive part. He got
through it, but he was disconcerted, and furious. The
cause for such sustained merriment seemed to him
insufficient ; but he learned the reason when, leaving the
stage, he sought a mirror. In his agitation he had
replaced his wig the wrong way round. If the actor was
furious before, he was now mad with rage, and his
wrath demanded the chastisement of the " super,"
the cause of his mortification. Like Saul of Tarsus he
was yet breathing out threatenings and slaughter, when
AN OVER-ZEALOUS SUPER 287
the super appeared a huge man of brawn and muscle,
in his shirt-sleeves and apron, just come from his work.
11 Hullo, Mr. P ," cried he, "do you want me ?"
P was a small man. His bellicose intentions
vanished with the rapidity of his wig not many minutes
before. Looking his opponent up and down for a
second, he gasped out, "Yes, sir; d n you, sir!"
and ran.
CHAPTER XXV.
The Musical Association Re-opening of Manchester Cathedral
Organ Career and Death of Malibran Manuel Garcia :
Centenary Banquet and Honours.
IT is interesting to reflect, as I look back, that
nearly the whole of the educational and examining
bodies in music now existing in the Metropolis have
been established in my lifetime. The same may be
said of the one learned Society entirely devoted to
music, which was founded in 1874.
The Musical Association was the outcome of
suggestions put forward by Sir John Stainer and
Sir Frederick Ouseley for the formation of a Society
whose object should be "the investigation and
discussion of subjects connected with the art and
science of music." These objects have been kept
constantly in view during the forty-four years of the
existence of the Association.
I was one of the original members, and after coming
to reside in London attended its meetings regularly.
Those meetings in the early days of the Association
I recall with lively interest. The papers read were
really excellent a standard that has been well
maintained and the discussions that followed were
sometimes even better than the papers. It is trite
to say, as we all do at times, as we grow older, " there
were giants in those days," yet now and then it occurs
to me that many of those old disputants have not
been replaced. Famous among them was Sir George
Macfarren, to hear whose comments on a paper that
CONTEMPORARY BUST OF HANDEL,
MODELLED BY RALPH WOOD, BURSLEM, STAFFS.
RETURN TO MANCHESTER 289
had been read was an intellectual treat. He displayed
extraordinary facility in choice of language, and
revealed remarkable powers of analytical reasoning.
Stainer, too, was very prominent and popular,
contributing an excellent series of valuable papers
extending over seven volumes of the " Proceedings,"
while Prof. Adams, F.R S., D. J. Blaikley, William
Chappell, Cummings, Curwen, Grove, Higgs, Hullah,
Osborne, Ouseley, Prout, Salaman, Southgate, Turpin,
among others, are names that leap to the mind.
Charles Salaman was the first secretary, having
also collaborated with Ouseley and Stainer in the
inauguration of the Society. He was a delightful
personality, without a spark of ill-nature and brimful
of enthusiasm. My old friend G. A. Osborne was one
of the first members of the Council. Some of the
earlier volumes of the Association's "Proceedings"
will shortly be numbered among rare prints. The
members have done me the honour to elect me, for
a time, to the office of President, left vacant by the
regretted death of Sir Hubert Parry. The meetings
have found many venues : at the old Beethoven
Rooms, in Harley Street, at the Royal Academy
of Music, at the Royal College of Organists, at
Messrs. Broadwoods', and now at the Novello Hall,
Wardour Street. The Association was incorporated
in 19 >4.
In the midst of many preoccupations I found
time now and then for what I may call professional
relaxation. A matter which came very near to my
heart was to learn of the projected rebuilding of my
old organ at Manchester, and in following the recon-
struction I noted its many points of improvement
with much satisfaction. It was like stepping back
across the decades into the years of my young
manhood when, in December, 1910, responding to the
u
2QO A WESTMINSTER PILGRIM
invitation of Bishop Welldon and Mr. Nicholson,
I journeyed to Manchester to collaborate with
Dr. Kendrick Pyne in the opening ceremony of what
was in fact a new instrument. Dr. Pyne had
resigned the organistship of the Cathedral in 1908.
It was a graceful act on the part of the Dean
and Chapter thus to remember their former chief-
musicians, and bring them back to the scene of many
happy memories to assist in so momentous an event.
We greatly appreciated the honour thus conferred.
I venture to append some excerpts from an account
of the proceedings, written by Mr. Filson Young, an
accomplished litterateur and cultured musician, which
appeared at the time in the Manchester Guardian.
Speaking of Dr. Pyne and myself, he said :
" They both looked astonishingly young which is also
remarkable ; one does not expect anyone to look young who has
continued to do any one thing for five-and-thirty years . . .
But the playing of both of them was a reminder that experience
does not necessarily spell incapacity . . ."
And he continued :
"It says not a little for Sir Frederick that amid the many
duties of his public musical life in London he has retained
the executive skill necessary for a performance like this ;
for technique is nowadays a much more formidable thing
than it was in his young days, and it would have been no
discredit to him had he chosen to rest on his laurels and not to
compete with the younger school. But his playing yesterday
was a reminder to younger organists that they are not likely to
have things their own way for a long time. He came to
Manchester, indeed, not to exhibit his playing, but, one likes
to think, out of love for the old place and the old building
and no one would have felt the occasion to be complete without
him. It is all the more gratifying then to be able to praise his
performance, which was particularly good in the Larghetto of
Wesley and the Choral Fugue of Merkel ; it was delightful to
see him and hear him in his old place, where his many friends
in Manchester will hope to see and hear him again, and to wish
him many more happy years of service in Westminster Abbey."
EX-ORGANISTS OF MANCHESTER 291
The writer went on to speak in most gratifying terms
of the performances of Dr. Pyne, referring to his
" direct inheritance of the Wesley tradition."
Mr. Sydney H. Nicholson also took part in this
re-opening ceremony. The work of renovation and
addition was carried out by Messrs. Hill, the builders
of the organ erected in 1872 by the generosity of
Sir William Houldsworth, to which I have already
referred.
For the illustration on another leaf I am indebted to
the kind thought of Mr. Nicholson. If the members of
this group of ex-organists of Manchester cannot be
said to represent a sonata in being, at all events
they combine three " movements." The first was
executed by myself, when I left Manchester for the
Abbey ; the second by Dr. Kendrick Pyne, who retired
in 1908, and the third in his turn by Mr. Nicholson,
the successor of Dr. Pyne, when he followed me
to Westminster. In 1911 Dr. Pyne was made an
" Officier d'Academie de France." Articled to S. S.
Wesley, at Winchester, he retains many pleasant
recollections of his distinguished master.
In the midst of this ceremonial visit to the scene of
so many treasured associations, in pensive mood I
permitted myself to indulge for a brief hour the
luxury of retrospection, tasting those twin ecstasies,
pleasure and pain. In my perambulations, pausing
now here, now there, it was borne in upon me,
as indeed so often before, that nowhere in this
sanctuary was there a memorial to record that within
its walls rested for a while the remains of Maria
Felicita Malibran. As will presently be shown, I have
a more intimate prompting in this connection than the
natural regret of a musician at this neglect. Malibran
made her debut in opera in London on June 7, 1825,
playing Rosina in Rossini's " II Barbiere." Thereafter
292 A WESTMINSTER PILGRIM
she was to be one of the queens of song, and
literally carried the musical world by storm. She
died, in her twenty-eighth year, while fulfilling an
engagement at the Manchester Festival of 1836,
when, for the last time in sacred music, and with
undiminished artistry, her glorious voice was heard in
the Cathedral in " Sing ye to the Lord," from Handel's
" Israel in Egypt."
She was buried in the Cathedral, and thrre months
afterwards was disinterred and conveyed to Laeken
in Belgium.
Upwards of thirty years after Malibran's death,
upon starting my work at Manchester I was so
fortunate as to have the advice and assistance of
Manuel Garcia, her brother. I had been told that
it would be well to get some authoritative hints on
voice-production, as such knowledge might be useful
to me with a view to pupils in my new surroundings.
Through the introduction of an old pupil of his
whom I knew at Windsor, I called upon Garcia
in London, and explained my wants. He was very
kind, and placed himself entirely at my disposal,
imparting his own special knowledge and practical
insight into the technique of singin^, acquired in a
life's study, without reservation. And he refused to
take a fee. After many years I renewed his acquaint-
ance at the Abbey, and hold his memory in great
reverence. I had the pleasure of directing the
theoretical studies of his young daughter, Miss Paula
Garcia, at the Royal College of Music. Afterwards she
proceeded to the degree of Mus. Bac. of the Univeisity
of London. It is pleasant to recall Miss Garcia's
wedding, at a delightful spot in Kent, which I attended
as one of a large company of guests, having also
the gratification of contributing some musical items to
the happy occasion.
CENTENARY OF MANUEL GARCIA 293
Garcia delighted in the music at the Abbey, and
would come frequently to hear me play. On one
occasion, when he was little short of a hundred years
of age, he came to one of our Carol Services, afterwards
writing me the following letter :
" Mon Abri,
" Cricklewood.
" DEAR SIR FREDERICK, We have to thank you for
a most delightful afternoon. The Carol Service was
perfect. What beautiful voices the boys have who
sang the solos round, clear, steady, and true ! Heard
in the semi-darkness of the Abbey, those voices had
an exquisite effect, and they are all as well trained as
they are beautiful.
"Please give my kind regards to Lady Bridge and
thank her for her hospitality. With best wishes to you
both, " Believe me,
"Yours very sincerely,
" MANUEL GARCIA."
I value very highly this testimony to my method of
training the boys in the Abbey choir.
Garcia celebrated his hundredth birthday on March
lyth, 1905, the event acquiring significance by a
reception held in his honour at the Royal Medical
and Chirurgical Society in Hanover Square, the
proceedings being directed by Sir Felix Semon, who
stated that it gave him very great pleasure to be able
to announce that the King had that morning, at
Buckingham Palace, made Manuel Garcia the
recipient of the Commandership of the Royal
Victorian Order. Many representatives of the arts
and sciences were present, Sir Hubert Parry,
Sir Alexander Mackenzie, Sir Charles Santley,
Mr. Otto Goldschmidt, Walter Macfarren, Alberto
Randegger, along with others, including myself,
2Q4 A WESTMINSTER PILGRIM
attended on behalf of music. A banquet followed the
reception, at which the King was represented by Lord
Suffield. At this function the hero of the evening,
besides hearing many speeches made in his honour,
was handed the following telegram from the Right Hon.
A. J. Balfour: " I send heartiest congratulations."
Garcia was born at Madrid in 1805. He died at
his residence in London in 1906.
It is curious to reflect that one has been intimate
with a man whose lifetime had seen the birth, develop-
ment, and death of Mendelssohn, Chopin, Schumann,
Verdi, Wagner, and Brahms ; whose father was that
celebrated tenor for whom Rossini wrote the part of
Almaviva in " Le Barbiere di Siviglia"; who might
have known Beethoven, and who certainly had heard
his sister (Malibran) in opera in some of her most
magnificent interpretations.* His fame rests not so
much on his success as a voice-trainer (Jenny Lind was
a pupil of his in 1841) as upon his scientific attainments
and his invention of the laryngoscope. Huxley is
convincing in his estimate of the value of this instrument ;
Sir Felix Semon said of it that " about three per cent,
of all human beings have reason to bless the name of
Manuel Garcia."
Like many other musicians, e.g,, Sir Walter Parratt,
Garcia was an enthusiastic chess-player. Doyle made
a spirited sketch of Charles Halle and Garcia absorbed
in a game (see Illus.).
In spite of his great age, he preserved a striking
elasticity and nimbleness of movement. On one
occasion when he came to see me at the Abbey he
stumbled and nearly fell in descending the steps from
the Nave into the Cloisters, but recovered himself with
*Yet I have drawn near to a remoter horizon, peopled with some
national musical worthies, as I shall presently show when speaking
of one of my predecessors at Westminster.
AN EPISCOPAL CATASTROPHE 295
rare agility. The mishap might have proved dangerous
to a younger man ! In congratulating him upon his
alertness, I recounted a story told to me by Turle, who
had once seen a bishop in full episcopal habit and wig
complete, fall headlong down a similar flight of steps at
the other end of the Cloisters.
CHAPTER XXVI.
Resume of Canadian Journey The Scotch Element in Canada
Canadian Musicians : the Cathedral Tradition Dr. Charles
Harriss Ottawa and its Historic Associations Colours of
Canadian Regiments at the Abbey Anniversary of Confedera-
tion of Canada.
GLANCING back at my Canadian journey, to which I have
already made reference (see page 216), an embarrassment
emerges, if indeed such it can be called, for I was in
the position of one who came nigh to being crushed
under an avalanche of hospitality. What I have
in mind are the invitations to luncheon lavished
upon me by the Canadian Clubs. These social bodies
appear to exist in every place claiming to be called a
town, and are a curious institution. It seemed to
me that the members rushed out of their offices and
places of business to meet at one o'clock for a simple
lunch. Then, if a traveller came along, they secured
him and made him welcome ; and if he were a traveller
of note, well, then they welcomed him again, and
endeavoured also to get him to speak. As they
were always practising this endeavour upon me, I
suppose I was bracketed in the latter category. These
functions as I saw them invariably concluded with the
National Anthem, a matter which always pleased and
surprised me, as in pre-War days we English seemed
afraid to sing our national hymn at any large
gathering. All was over in an hour a crowded hour
and off the members rushed again to their various
offices.
A RIDE IN A "RIG" 297
When one had been travelling long distances,
with the obligation of lecturing and playing an organ
solo or two, it became real hard work to take part
in such events, and very often I put up some sort of
strategy and tried to escape. But it was very difficult
to rebuff the abounding cordiality that so evidently
prompted their desire to secure me as a guest. At one
place I think it was Moose Jaw I had been persuaded
to accept one of these Club luncheons, and as there
seemed to be time had gone for a run of some miles
over the prairie in a motor to see an Indian encamp-
ment. I was due back at one o'clock. On the return
journey the motor got bogged, and we had to leave
it and walk some distance. Then my guide went into
a house and telephoned to the Club. Returning, he
told me they were sending a "rig" for us. When it
arrived it proved to be a curious "machine" as they
say in Scotland very light, and uncomfortable to
travel in. But getting up, off we went at a
fearful pace. I made sure we should be killed. The
wheels banged and leaped on the hard ground, for
there was no road. Once the horse went down in
crossing a railway track. Scrambling up instantly,
however, off he went again at the same furious speed.
We reached the Club rather late, to find a large
gathering assembled. My reception was indeed warm.
In making a speech, I detailed a few of my experiences
not only on that day in the " rig," but on other days.
One point, I remember, particularly amused them.
I said I found so many things very different from the
old country. For instance, that morning I was lying
comfortably in bed when a telephone bell in my
room rang violently. Jumping up, I went to the
instrument, thinking perhaps there was a fire. " Eight
o'clock, Sir," said a voice. " I know it is, you ass,"
I replied, and went back to bed again. "Now," said I,
298 A WESTMINSTER PILGRIM
" in England I am called by a servant who enters
quietly, and if I don't want to get up I needn't." And
so I went on with various matters, making a fairly long
speech. It seemed to please them in fact, I heard
of its effect during the afternoon. A friend of mine
went into a bank, and the manager was at the
telephone, evidently describing my speech. Said he,
" You should have been there, he was great : and
talked longer and better about nothing than anyone
I ever heard ! " I felt rather complimented at hearing
this, and certainly that speech made an impression,
for my next lecture was attended by a tremendous
crowd and the receipts were greater than on any other
occasion.
The Scotch element is very strong in many parts
of Canada, and particularly along the route of the
Canadian-Pacific Railway. In these flourishing
communities it is not surprising that the best
churches and the best organs are found as a rule
to belong to Presbyterian bodies, and not to the
Church of England. To me it was a matter for
regret to learn that such was the case. I met many
excellent clergy of the English Communion, but could
not help feeling that their condition was not what it
might have been, and that the Church of England
did not flourish here as by its great traditions it
should have done. That was the impression that I
received, although it is possible it may have been
wrong, and indeed I hope it was.
There are some very excellent and enthusiastic
musicians among the organists of Canada. I made
it a point always if I could to meet them, and was
anxious that our own Royal College of Organists
should extend its ambit and make its great influence
felt in the Dominion. There was, I found, a great
desire among the best Canadians that this should be
PROPAGANDA WORK IN CANADA 299
so. But my report to the Royal College was not
favourably received, no action being taken. Yet
some good came out of my efforts, for a flourishing
Guild of Organists is now established in Canada, and
its propaganda cannot fail to improve matters very
much. The selection of our Cathedral music which
was performed at my various lectures created great
interest among organists and choirmasters. Some
of the pieces (e.g., by Dering and Wesley) were quite
unknown to them. I have reason to believe that my
visit opened a door to many of my listeners by which
they entered into the rich and wonderful storehouse of
the Cathedral music of the Church of England, and
perceived its manifold beauties. By so much may
I claim to have benefited the cause that lay so near my
heart when embarking on my arduous tour.
If thus I may have sown some seed which in due
time should come to fruition, the soil had already been
tilled in certain areas by at least one ardent enthusiast.
I refer to my friend Dr. Charles Harriss.
Dr. Harriss imbibed the Cathedral tradition at an
early age as a chorister at St. Michael's College,
Tenbury, under Sir Frederick Ouseley. Proceeding to
Canada as a young man, he has consistently upheld this
essentially English aspect of noble and inspiring music.
He has lived strenuous days, his propaganda work
so aptly named by him " musical reciprocity " having
taken him on some world tours with bodies of highly-
trained choralists, who have achieved great success.
It is with very great pleasure that I record the
cordiality and goodwill that he and Mrs. Harriss
extended to me, entertaining me right royally at their
beautiful home, " Earnscliffe," at Ottawa. This house,
once the residence of Sir John Macdonald, Premier
of Canada, is, strangely enough, the place where
Dr. Harriss stayed as a guest of Sir John on the first
300 A WESTMINSTER PILGRIM
visit that he paid to Ottawa. I recall that in 1891
we held a Memorial Service in the Abbey for this
distinguished Colonial statesman. I treasure the
memory of my stay at " Earnscliffe," and of the
number of delightful people whom I met there.
While at Ottawa I embraced the opportunity of
visiting the spot where Wolfe fell, and the scene of the
capture of the Heights of Abraham. Thus was I able
to appreciate how faithfully the picture has been
chiselled by the artist who carved the Wolfe monument
erected in Westminster Abbey.
As I stood on the historic spot, and mentally
recalled the proud monument at home, I had no
prevision of the solemnities centreing around the
classic victory and its memorial in which I should
ere many years be an actor. I refer to the regimental
colours of those grand Dominion soldiers that were
fittingly deposited in the keeping of Westminster
Abbey, draping the " symbol of Canadian Liberty " as
Wolfe's monument has not inaptly been called while
the regiments were at the Front. Frequently I played
at these ceremonies, and when the colours were
reclaimed. Alas ! in many cases the officers who
deposited them returned not to claim them again.
Their young, ardent lives had been laid down and
gloriously laid down for the liberty of the world.
Here it is meet to refer to the great Canadian
festival held in the Abbey in 1917, in the midst of
the War. On July 22nd of that year there was
celebrated the fiftieth anniversary of the Confederation
of Canada, and occasion was taken to include in the
commemoration a solemn memorial in honour of
the sons of the Dominion fallen in the War. Their
Majesties The King and Queen attended, the high
officers of State and numerous dignitaries at home
and from our Colonial Empire were present, while the
301
great building was thronged with a huge congregation,
conspicuous being many of the stalwart men whom
Canada had splendidly lavished to stand with the
liberal peoples in safeguarding civilization.
The proceedings were throughout infused with a
noble dignity and simplicity. " O Canada," the opening
hymn, was sung with great fervour, the organ being
supplemented by a fine band belonging to one of
the Canadian regiments. Parry's Coronation anthem,
" I was glad when they said unto me " preceded the
Commemoration and the ascription of Honour to the
fallen, recited by the Dean. The latter concluded with
some moving sentences that surely merit quotation :
" Not in vain, not forgotten, not unhonoured,
have they laid down their lives. Ypres, Vimy
Ridge, and a hundred other fights have crowned
with imperishable splendour the glory of Canadian
nationhood."
So in splendour and majesty the service moved to its
appointed end. An innovation which might have been
startling in the old decorous days that now seem so
long ago, was the singing of "The Maple Leaf" before
the National Anthem. But its inclusion gave great
pleasure to the Canadians present, and sung as
also was the opening hymn by the great congregation,
accompanied by band and organ, the effect was superb.
Those who were privileged to be present brought away
an imperishable memory.
The service book was embellished with the armorial
bearings of the Dominion of Canada. Only those
conversant with the science of heraldry and its quaint
verbiage could adequately describe the original.
But I recognised one of the " animate charges," as I
believe they are called, from his lively resemblance to
the salmon that we take out of the Deveron.
CHAPTER XXVII.
An Early Canadian Friend Madame Albani and Queen Victoria
Oratorio "The Repentance of Nineveh" Norwich Festival
and "Morte d' Arthur" An Incident in the Highlands "A
Pretty Trio " Randegger and the Coronation Choir Jubilee
of Cambridge University Musical Society Tchaikovsky and
Saint-Sae'ns Grieg at a Philharmonic Concert.
I HAVE spoken of the many Canadian friends whose
acquaintance I made in the summer of 1908; yet my
earliest Canadian friend was that supreme artist,
Madame Albani. To her I have been indebted on
many occasions for beautiful interpretations of my
music performed at the different Festivals in those
spacious days when such music-makings were thought
worth while. She always took the most extreme
pains to realise the intentions that had animated my
compositions, and invariably succeeded in conveying
to me that she made no difference between her attitude
towards my humble efforts and those of much greater
men.
In 1890 my dramatic oratorio " The Repentance of
Nineveh" was produced at the Worcester Triennial
Festival, my gracious friend singing the principal solos.
She was much struck by an Aria, " Hear ye and give
ear," and later very kindly and entirely spontaneously
brought my composition to the notice of Queen
Victoria. I append some extracts from a letter that
she wrote to me from Braemar, where she was staying,
in September of the same year:
" DEAR DR. BRIDGE, Soon after my return from
Worcester, Her Majesty The Queen honoured me
with a visit, and over tea I took the opportunity of
RECOLLECTIONS OF RANDEGGER 303
speaking of our grand Festival, and of your work. She
seemed much interested in it all, and I asked her
permission to sing the air, ' Hear ye and give ear/ the
next time I went to Balmoral ... I could not go until
yesterday. I sang it, and it seemed to make as good
an impression in the drawing-room as it did in the
Cathedral ; and the Queen was much pleased, and said
it was 'very clear and very fine.' Princess Beatrice
also thought it ' very fine ' . . . I think it had a great
success, and you can be well pleased.
" It struck me yesterday that I might sing the air at
some of the orchestral concerts in which I take part
this Autumn at Bradford, and Manchester with the
Halle Orchestra. If you have no objection, you could
have the Scena begin with the orchestra alone, at the
Allegro con ira. In that case would you have the
parts copied so that I might have them early in
November . . . ? "
This is only one of many kindnesses which this
great songstress has conferred upon me.
Alberto Randegger was another musician with whom
I established very friendly relations, and whose name
comes back to me in connection with the lively practical
interest he evinced in some of my compositions. He met
me very frequently at the Scholarship Examinations
of the Royal College of Music, where I was always
struck by his engaging manner, his unfailing fairness,
his patient desire always to do the right thing. He
was very kind to me whilst I was engaged upon
my choral work " Callirhoe," which was performed
at the Birmingham Festival in 1888. It is a secular
cantata of some length, and deals with a very
dramatic subject. I was naturally anxious to make
it a success, and Randegger took much interest in
its progress. One night I carried my manuscript
up to his house, when we went all through it.
30 4 A WESTMINSTER PILGRIM
His experience in works of this kind was very wide,
and he seemed at once able to say what would be
effective and what would not, while also he had a happy
way of laying bare the weak points in a moment.
Unlike some critics, however, he was not at a loss
to suggest a remedy. Yet I must confess that in
looking through " Callirhoe " he rather depressed me
by condemning out and out a very important Scena
for soprano, saying, " No, it won't do ; it is dull,
and altogether lacking in inspiration." As a matter
of fact, I had rather suspected this myself. I had
worked hard at it, but the nuances that I sought
to impart were elusive ; my imagination would not
soar, and momentarily the thing had got completely
out of hand. However, I took his advice, and
later on the new version that I was able to
construct entirely pleased him, except one important
note in the opening phrase. He there and then
suggested another, which at once I adopted. After-
wards he would frequently chaff me in his inimitable
way about " his note."
It was largely owing to his disinterested advocacy
that my orchestral overture " Morte d'Arthur" found a
place in the programme of the Norwich Festival of
1905. This was the last Festival at Norwich that
Randegger conducted.
He often made laughing reference to seeing me
at Oban, when our converging paths met at that
clearing-house of the Highlands: he was bound for
StrathpefTer ; I, with my family, servants, and a mass
of impedimenta, was on my way to our fishing on
the Spean. The amount of luggage that we had got,
and which had to be transferred from the rail to the
steamer, simply appalled Randegger, but he tound
room for amusement in noticing that the household
pets had not been overlooked. There they were, a
AN ECHO OF THE FESTIVALS 305
cat, a goldfinch, and a Belgian hare a pretty trio, but
not quite so embarrassing as the group that once
nearly nonplussed a ferryman whose difficulty with his
charges is a classic memory of school-boy days.
I was able to include Randegger in the Abbey Choir
for King Edward's Coronation, but the postponement
of the ceremony made it impossible for him to attend
at the later date. He was in Italy; yet his thoughts
were in London, with the historic scene to be enacted
there, for on the night before the event he sent me a
telegram conveying his best wishes for a successful
conclusion. He had elected to sing alto, and would
indeed have been an acquisition to the choir.* At the
rehearsals he had rather astonished his neighbours by
the quantity, if not the quality, of his voice. When he
died, I felt that in him I had lost a winning companion
and congenial friend.
Randegger conducted the Norwich Festivals from
1881, and directed nine of these famous music-makings.
As stated above, he conducted his last Festival at
Norwich in 1905, when occasion was suitably taken
for presenting him with tangible evidences of
esteem by those who had been associated with him
in the artistic success that had unfailingly attended
his direction of these triennial meetings. These gifts
took the shape of some very handsome pieces of plate,
Mr. Ben Davies being a felicitous spokesman on behalf
of the principal artists in handing to the popular
conductor a solid silver loving-cup that, suitably
engraved, and bearing the names of the donors,
formed their testimonial.
Randegger's was a name to conjure with in musico-
artistic circles. He seemed to know all the celebrities
in the musical profession at home and abroad he had,
* It must be added that he attended and was indeed an acquisition
to the choir for the Coronation of King George and Qu,een Mary.
X
306 A WESTMINSTER PILGRIM
been intimate with Costa, and enjoyed the friendship
of Liszt. Had he been with me at Cambridge in
the summer of 1893, I might perchance have dated
my acquaintance with Saint-Saens some years earlier
than the Coronation of King Edward, for the great
Frenchman addressed Randegger as "amico e collega."
I rejoice at having been present for the jubilee of the
University Musical Society, an occasion that gained
international distinction by the conferment upon
Saint-Saens, Tchaikovsky, Boito, and others, of
the honorary Degree of Doctor of Music. I had
the pleasure of meeting Tchaikovsky at a function in
connection with the event, and was charmed with his
modest, quiet, little manner (" little " seems just to
describe my meaning, and does not convey small in
dignity or significance). It was difficult to associate
this quiet personality, this lined face and thin hair,
with the man who produced such a work as the
" 1812."
Tchaikovsky had journeyed to Cambridge with a
party, the members of which were attending by
invitation to be made recipients of honorary degrees.
Grieg was to have been present, but was prevented
by illness. In Saint-Saens's book, " Portraits and
Souvenirs," there is a sparkling description of the
proceedings, and reference is made to the " King of
Bohonager," * arrayed like the cohorts of the Assyrians,
in purple and gold. He draws a delightful picture
of the students in the circular gallery ; of the
attiring of the aspirants, before the ceremony, in their
ample silken robes, and the donning of the mortar-
boards, tasseled and fringed with gold ; of the
procession through the town in a tropical heat
* I must confess to being unable to trace this potentate, nor do I
remember having seen him at the ceremony. He is probably a figment
of the versatile Doctor's imagination.
TCHAIKOVSKY AT CAMBRIDGE 307
indeed it is plain that the whole adventure charmed
and delighted him. So the volatile French artist.
Of Tchaikovsky we learn that only a short time
before his investiture he was writing to his nephew,
DavidofT : "Is it not strange that of my own
free will I have elected to undergo this torture ? "
Yet if torture it was, he disclosed none of his feelings
to those who met him at Cambridge on that lovely
day in June, and certainly he revealed to me only
an engaging courtesy. It is sad to reflect that but a
short time afterwards this great artist, whose master-
works explore so many phases of emotional expression,
was fated to die, at the comparatively early age of
fifty-three.
Grieg was made a Mus. Doc. of Cambridge,
honoris causa, in May, 1894. In an earlier chapter I
have made reference to his zeal as a conductor. Some
of his Scots ancestry was perhaps responsible for
the snap and go so frequently revealed in himself
and in his compositions ; yet he had another side,
as will be remembered by those who were at the
Philharmonic Concert in St. James's Hall in May, 1888.
He conducted the orchestra in his two " Elegiac
Melodies," and played his Pianoforte Concerto, but
surely the rare charm of that evening was the singing
by Madame Grieg of some of her husband's songs
to his accompaniment songs which led several of the
critics to proclaim a new range of emotion found in
subtlety of rhythm and curiously arresting turns of
expression.
CHAPTER XXVIII.
The Muniment Room Early Records concerning the Organ
A Quaint Epitaph Thomas Dallam's Journey to Constantinople
Presentation Organ by Queen Elizabeth to the Sultan of
Turkey Portrait Gallery of Abbey Organists Purcell Score :
Autograph Corrections The Abbey Bells : an Historic " Ringer's
Bill."
As organist of the Abbey for so many years, I may
be forgiven for devoting some pages to a consideration
of the organ and a review of its history, along with
an account of my predecessors in the organ-loft.
Let me ask my reader to accompany me in thought
into the ancient building at Westminster. It is a
November afternoon, dark and gloomy. Evensong is
over. The white-robed choristers have passed in
procession down the Nave to their vestry ; the splendid
organ has rolled its grand echoes through the vaulted
roof; and the congregation has departed. The lights
are extinguished, and the Abbey is closed. By some
chance we are left in the impressive Church with, for
company, only the solitary watchman, who, regularly
perambulating the Aisles, passes us on his way to the
distant Chapel of Henry VII., where he has to register
his visit on a recording clock as evidence that he is
.alert and on duty. We pause in front of the altar,
between the Transepts, under what is termed the
Lantern, and in the shadow can dimly trace the
soaring arches, but away in Poets' Corner all is
darkness and silence. Suddenly a glimmering light
.appears high up in the distance, over Handel's
THE MUNIMENT ROOM 309
monument, and we hear footsteps, with a jingling of
keys and the opening and shutting of invisible doors.
Holding: our breath, we listen. After a minute or
o
two the light is stationary, and all is quiet, save
for an occasional gentle rustling, as of parchments.
Perturbed, we seek the watchman, who quickly dispels
our fears of a ghostly visitant. " It's only Mr. Scott,
in the Muniment Room," is the reassuring explanation.
Perhaps my readers may like to hear something about
this repository and its archives.
Dr. Scott, the late accomplished head of the
Manuscript Department of the British Museum,
catalogued and arranged for the Dean and Chapter
the contents of the Abbey Muniment Room. During
some months, by permission of the Dean, I was
allowed to spend many happy hours in that quiet
retreat, searching primarily for Purcell lore, but with
my eyes keenly open in other directions, for a great
many small but interesting bits of information had
been hidden away among the documentary material
assembled there.
The Muniment Room was built by Henry III. in
about 1250, and occupies the entire western side of
the South Transept between the Cloisters and the
Triforium. In about 1380 the first bay was separated
by a partition from the two remaining bays. It
is approached by a turret stair from the Cloisters,
which leads to a beautiful ante-room only lately
restored. For probably three hundred years this ante-
room had been walled up and altogether hidden from
view to visitors in the Transept. It was also divided
into two stories by a floor of wood, and at some
time in its history had been used as a dwelling. Who
knows perhaps the Jacobite Dean Atterbury had
used it as a secret chamber. Fortunately all this has
been removed, and the beautiful proportions of the
310 A WESTMINSTER PILGRIM
arches, the lancet windows, and Purbeck marble
columns thrown open to view. Divided from the
ante-room by a curious old wooden screen over
which in plaster is still to be seen the White Hart,
the badge of Richard II. is the Muniment Room,
where, stored in the oaken presses dating at
least from the time of Richard II., are preserved the
precious records of the Abbey. My interest in these
was principally musical. But even had it been other-
wise, I was not qualified to express an opinion upon
the value of the documents with which Dr. Scott
was concerned. Yet I cannot refrain from saying
that here are to be found the Prior's Rent Book
(containing entries of payments made by Caxton
when he set up his printing press in the Abbey
Precincts), John of Gaunt's letters to the Abbot of
Westminster, many autographs of Bradshaw the
Regicide, the autographs of Cecil and Burleigh, the
founders of the noble House of Salisbury, and
thousands of other objects of supreme national and
antiquarian interest. Side by side with these are
many musical items which might fairly claim attention,
although in many cases they are useful only as
showing the condition of music at the Abbey over a long
period of years. There is, however, enough musical
material of general interest to warrant some extracts.
Should I be asked "Where would you begin?" I
should at once make answer, as an organist, " With
the organ " ; although it is not my present purpose
to attempt more than a summary of the information
available, leaving a complete account for treatment
elsewhere.
At the outset be it said that I have not been able to
examine the material quite so far back as undoubtedly
is possible, yet probably I have fallen short by only a
few years. Also, while exercising due care, I cannot
EARLY ORGAN RECORDS 311
hope to have cleared the ground so thoroughly that
further research will not reveal valuable information as
the reward of later inquirers.
My investigation was made in 1905, when my friend
Dr. Scott was compiling his invaluable catalogue, a work
that he conducted with great regularity and precision.
Unfortunately it has now for a time been suspended by
the lamented death of him whose qualities of patience
and discernment, along with a profound scholarship,
so admirably fitted him for the task that he had
undertaken.
Appended is an abstract of the details that I was
able to discover, arranged chronologically :
ORGANS.
Accompt of the Sacrist of Westminster Abbey for repair of
the Organs in the Choir, 1374-75.
Payment by the Sacrist of Westminster Abbey for Organs
belonging to the Duke of Exeter, 1422-23.
Payment by the Sacrist of Westminster to Frater Y. Gedney
for mending the smaller pair, 1422-23.
Payment for mending the bellows of the great Organs in
Westminster Abbey, 1424-25.
Payment for mending the smaller Organs in the Choir,
Westminster Abbey, 1432-33.
Payment by the Sacrist of Westminster Abbey for mending
Organs in the Choir, 1434-35.
Payment by the Sacrist of Westminster Abbey for one pair
of organs newly made for the Choir, 1440-44.
Payment by the Sacrist of Westminster Abbey for mending
the Organs, 1459-60.
Payment by the Sacrist of Westminster Abbey for mending
the Organs, 1465-78.
Organmaker (William). Payment to, for mending the Organs
in Westminster Abbey, 1465-66.
3 i2 A WESTMINSTER PILGRIM
Then we come to the year of the accession of Queen
Elizabeth in 1558, when the following payments were
made to one "John Howe, Organ Maker":
Item. Payed for 2 skins of leather for to leather the belows
of the grate woden Organs and leathering the Sondboard.
Item. Payed for latten* wyre for to make strings for the
grate bass and ten principalls.
Item. For sowder to sowder small pipes which were broken.
Item. For ye fee for the Tuninge of the Organs that stands in
Henry the Vllth Chappell.
Item. For ye fee for Tuninge the Organs that standes over
the Quyre for a quarter ended now at Mychelmas
by me John Howe
Organ Maker.
The above are interesting as showing that at one
time there was an organ in Henry VII. 's Chapel as
well as one in the Choir. The former had no doubt
been used for the celebration of the Mass during the
reign of Queen Mary. Under Elizabeth it was not
permitted to remain there very long, for I came across
another bill to the same John Howe, in which
occurs :
Item. To the said John Howe for takying down the Organes
in Kyne Henry the Vllth Chappell, mendyng the same
and settyng up the same in the Quyre and mendyng the
other Organes.
In 1603 there were payments to Edward Hooper for
" mendyng of bellows and organs with tunings of
them," and for " 4 pairs of hingells " (hinges) for the
bellows to " Mr. Wyat " ; also for a "shooting plate
for the organ-loft doore." Hooper was the organist
at that time, and, like many old practitioners in
those days (e.g., Father Smith) he was both a player
of organs and a builder of them.
* " Latten " was a metal closely resembling brass.
A SHARP MAN OF BUSINESS 313
In 1605 another organ-builder, George Pendleton,
comes upon the scene. His bill includes items :
For 4 pounds of tynne to foote the greate bass pipe.
To a porter to help carry the pipe to my house and back
again after it was new footed.
In this same year occurs another organ bill of great
interest. It runs thus :
20 die Martii 1605.
Item. To Pendleton for removing and tuning the instrument
against the funerall of the King's daughter, 105.
This was no doubt the child of James I., who lies
buried in the North Aisle of Henry VII. 's Chapel.
The organ was probably not very large, and was
removed to be near the scene of interment. The
whole bill is very interesting, containing as it does
such items as payments for " hanging the Chappell
with blacke."
In 1606 there seems to be evidence of the building
of a new organ, as there is a payment to John Wright
for taking down the " ould Orgayne loft."
Among the most interesting of my finds was an
organ-maker's account for mending the organ. It is
dated 1625, an d the organ-maker referred to is John
Burrard. The bill is endorsed by Orlando Gibbons r
the celebrated Abbey organist. It is reproduced in
facsimile at page 214. This, so far as I know, is the
only autograph letter of Orlando Gibbons in existence.
It reveals him as a sharp man of business. He had
" already cut him off ten shillings " and the bill only
amounted to twenty shillings and eightpence ! It is
a point of some interest to note that this letter was
written at Midsummer, 1625, an< ^ within a few months
the writer was dead. As already stated (see page 213),
he went to Canterbury to direct the music at the
marriage of Charles I., and died there of apoplexy.
314 A WESTMINSTER PILGRIM
Round about this period the name of Dallam figures
prominently in the Abbey records, covering altogether
a term of about a hundred years. There is little
doubt that the organ referred to in the above account
was a Dallam instrument, and the one played upon by
Gibbons, Blow, Purcell, and Croft. Dart describes it
as a " stately organ, gilt." It stood under the second
arch west of the Transept, on the north side of the
Church. (In order not to break the narrative of the
organ, some further details concerning Dallam are just
now postponed.)
During the organistship of Christopher Gibbons, son
of his more famous father, the accounts are concerned
with the following payments in respect of organs, &c. :
To Christopher Gibbon (sic) in discharge of his
Bill for Tuneing the Organs xxs. and to George
Dalham for the same service 55. in all this year Hi. vs.
To James ffuller, Blower of the Organs ... ... \ili.
To John Hill, for playing on the cornet in the
Church ... ... ... ... ... ... ii/t. vs.
To Henry Purcell for Bookes of services for the
choristers ... ... ... ... ... ... Hi.
From this it is apparent that the organist also tuned
the instrument, and that there was a cornet-player.
The Henry Purcell above-mentioned was the copyist
of the Abbey and father of the great composer.
In 1694 an Agreement was entered into between the
Dean and Chapter of Westminster and Bernard Smith
(Father Smith) by which, for the " sume of 200,"
to be made in four payments of s> the latter
covenanted to :
". . . make the present organ belonginge to
the Deane and Chapter of Westm r exceptinge the
pipes & case & add thereto a double sett of keys
& 4 new stops, vizt. one principall of mettle, one
FATHER SMITH 315
stop diapason of wood, one nason of wood,* and
one fifteenth of mettle w ch are to be added to the
present organ by enlarginge the case backwards."
This document was signed " BER: SMITH," the
witnesses to the Agreement being Steph. Crespion,
Henry Purcell, and John Needham. Needham was
the Receiver-General.
A bill presented in " Octo b y e : 15," 1700, shows that
^ John Hisenbuttell had performed various joiner's work
*in connection with the organ, to the amount of 39 igs.
It bears the endorsement :
" For Mr. Needham the Joyners bill for ye
Organ Shashes settled by Sr Christoph r Wren
ye 9 th of January 170 39. 19. o."
The document is described as " The Bill for ye
Sashes Frames Waites Lines and pulleys an ye best
Crown Glass to ye Organe In ye Collegiat Church of
St. Peters, Westminster. Done by Mr. Hisenbuttell."
In 1718 there is a ''Proposal of Chr pher Shrider,
Organmaker," in which, after reciting certain defects
in the organ, and making reference to the sum (405.
per annum) allotted for keeping it in tune, he says :
11 Therefore I ... do hereby propose:
That if ye Dean and Chapter will please to allow
ten pound for mending and cleaning, and for
putting ye said Organ into good order ; that being
but a small sum for ye Repairs there wanting,
and then to fix a salary of five pound p. annum,
I will oblige my self to keep ye Organ in order
without any further charge to ye Dean and Chapter
for ten years, and for as many years afterwards as
it is possible for any workmen to keep it in order ;
the greatest part of ye Organ being very old."
* This stopped diapason and nason are still contained in the Abbey
organ (see page 159).
316 A WESTMINSTER PILGRIM
Dr. Croft endorses this: " I believe this to be true
and the proposalls very reasonable."
In 1727, in the British Journal of February loth, there
is a reference to the Coronation of George II. :
" The fine organ made. by Mr. Schrieder, which
was set up in Westminster Abbey, and used on the
day of the Coronation, has been presented to the
said Abbey by his Majesty. It is accounted one
of the best performances of that maker."
This instrument was placed on the screen. It may
here be mentioned that Handel's Coronation anthems
were composed for George II.
Abraham Jordan, the inventor of the swell, probably
adapted this invaluable accessory to Schrider's instru-
ment. A memorandum formerly in the possession ot
the Precentor records that :
"The new organ built by Mr. Shrider and
Mr. Jordan was opened on the ist of August,
1730, by Mr. Robinson."
Mr. Robinson was the organist of the Abbey, and the
composer of the well-known double-chant in E flat.
This Schrider organ contained only four stops on
the Swell (to fiddle G). There was no Pedal organ.
In T. Webb's " A new select collection of Epitaphs"
(vol. ii., 1775) there is to be found the following
amusing inscription to Christopher Schrider :
Here rests the musical Kit Shrider,
Who Organs built when he did bide here :
With nicest ear he tun'd 'em up ;
But Death has put the cruel Stop :
Tho' Breath to others he convey 'd,
Breathless, alas ! himself is lay'd.
May he, who us such Keys has giv'n,
Meet with St. Peter's Keys of Heav'n !
His Cornet, Twelfth, and Diapason,
Could not with Air supply his Weasand :
Bass, Tenor, Treble, Unison,
The Loss of Tuneful Kit bemoan.
EARLY PEDAL ORGAN 317
Thirteen unison Pedal pipes (GG to Gamut G)
were added to the Schrider organ by the celebrated
John Avery, of whose work as an organ-builder we first
hear in 1775. Avery's Pedal pipes were of such large
dimensions that although only unisons with the diapason,
they produced the effect of a double diapason. Open,
and of wood, they were not coupled with the manuals.
Probably the Abbey organ was one of the earliest
^instruments in England to have an independent Pedal
organ. Later on we learn that Messrs. Elliott & Hill
added "pipes of double size, speaking down to GGG
(2ii-ft- in length)."
The 1730 organ-case was replaced a century later by
a Gothic case, but the case of the Choir organ was
permitted to remain.*
Scnrider supplied another organ for the Abbey in
addition to that already referred to. From a news
sheet called the Old Whig we learn, under date
December I5th, 1737, that :
" They are putting up a gallery for King Henry
the Seventh's Chapel, where an organ is to be
built by Mr. Schrider, his Majesty's Organ-Builder,
as fast as possible, for a performance of a solemn
Anthem the night her Majesty is interred."
The occasion was the burial of Queen Caroline, and
the anthem Handel's.
Extensive structural alterations were made to the
Choir of the Abbey in 1847-48, and the erection of
a new organ, to contain some of the old stops, was
entrusted to Messrs. Hill. It stood on the screen, and
was contained in three cases, so disposed that no
obstruction was offered to an uninterrupted view of
* As already noted (see page 126) it was unfortunately lost to the
Abbey when, in 1847, it w ^s removed to Shoreham Church, Kent, where
it can still be seen.
318 A WESTMINSTER PILGRIM
the Church from one end to the other. While the
Great and Swell organs occupied the north and south
sides respectively, the Choir organ was placed over the
arch of the screen. The Pedal organ contained but
two stops a great open diapason 32-ft., and an
open diapason i6-ft., the pipes of which were laid
transversely along the organ-loft a position they
occupy to-day.
The organ received an entire reconstruction at the
hands of Messrs. Hill in 1884, an d on May 24th of
that year (Queen Victoria's birthday) we re-opened the
instrument. I have referred elsewhere (page 126) to
the electric or "Celestial" organ, the gift of Mr. A. D.
Clarke, and to the two handsome cases designed by
the late J. L. Pearson (page 157).
Before proceeding to a review of the organists, I
give here the account of Thomas Dallam foreshadowed
on page 314. As well as building the Abbey organ,
he erected the organ in King's College, Cambridge,
and was the builder of an extraordinary instrument
the gift of which by Queen Elizabeth to the Sultan of
Turkey forms the subject of a remarkable narrative
left by Dallam of his journey to Constantinople in
charge of the organ and his adventures which were
many by the way. The record is published by the
Hakluyt Society, and from some notes in the book we
learn that although the gift was accredited to the
Queen (there were strong political reasons at that date
for placating Turkey), the cost was probably borne by
the Levant Company of merchants.
Dallam's journey was made in 1559. We read in
State papers of January 3ist of that year that " a great
and curious present is going to the Grand Turk, which
will scandalise other nations, especially the Germans."
The organ was automatic, operating by clockwork
as well as being playable by a keyboard. Thus we
A PORTRAIT GALLERY 319
read of the first recital before the Sultan : " Firste the
clocke strouke 22, then the chime of 16 bells went
of, and played a songe of 4 partes." Then follows a
description of " personages . . . houldinge two silver
trumpets in their handes," who sounded a " tantarra."
" Then the muzike went of, and the orgon played
a song of 5 partes twyse over. In the tope of the
on . . . did stande a holly bushe full of blacke
birdis and thrushis, which at the end of the musick
did singe and shake theire wynges."
The Sultan was evidently a man who " wanted to
know." Observing the keyboard, during the automatic
recital, he asked " Whye those keaes did move when
the orgon wente and nothing did tuche them ? "
Dallam reveals himself a courtier. When he was
desired to play upon the organ, he at first demurred,
" because the Grand Sinyor [Sultan] satt so neare the
place wheare I should playe that I could not com at it,
but I muste needes turn my backe towardes him and
touche his kne with my britchis."
It is gratifying to learn that this difficulty was
surmounted by the magnanimity of the Sultan, so
that Dallam was able to demonstrate the musical
possibilities of the instrument that he had constructed.
Turning now to an account of the Abbey organists :
In the Abbey Deanery are to be seen the portraits of
many of the Dean's predecessors ; in the headmaster's
house in Westminster School there is preserved an
historic array of portraits of headmasters of that
famous seat of learning. It had been my ambition to
collect authentic portraits of the Abbey organists, with
a view to bequeathing them, or reproductions of them,
as an heirloom in the official house of the organist.
I set out to realise my idea in 1904, at the time when
the Worshipful Company of Musicians projected their
Exhibition at Fishmongers' Hall.
320 A WESTMINSTER PILGRIM
But I was confronted with a few difficult gaps, one
being that of Thomas Greatorex, Turle's immediate
predecessor. By a fortunate chance his son, the
Rev. Edward Greatorex (sometime Precentor of
Durham and for many years rector of Croxdale), called
upon me, and accepted an invitation to dinner. I told
him of my idea, when at once he said that he could fill
the vacant place, remarking incidentally that few could
claim, as he, that their father was born in the reign
of George II. a monarch reminiscent of the Dettingen
Te Deum and the Seven Years' War. It was also very
interesting to learn that Thomas Greatorex had known
the Young Pretender, whose acquaintance he had
formed in Italy. The Prince, who was very musical,
bequeathed to him some of his music-books.
It was a remarkable coincidence that my wife (her
name was Flora, which momentarily added tothe interest),
seated at the table with us, was a great-great-gnnd-
daughter of the Flora Macdonald* whose adventures
with the Prince in the '45 have been woven into many
a romance. Surely here was an incident worthy of
being chronicled, the meeting together in the Cloisters
of Westminster of a man whose father was intimate
with Prince Charlie, and a lady who was the descendant
of the girl to whom probably the Stuart owed his life.
Another gap was the portrait of Ebenezer Williams,
(1814-1819). In his case I was so fortunate as to
discover that a daughter was still living, and willing
to help me in my purpose. Although unable to give
me an authentic portrait of her father, she undertook
herself to produce a picture of him from materials
in her possession, and from her recollection.
* Boswell and Dr. Johnson, in " The Tour to the Hebrides " (1773) stayed
with the Macdonalds, in Skye. Boswell describes Flora Macdonald
as "a little woman, of a genteel appearance and uncommonly mild
and well-bred," and adds : " to see Dr. Samuel Johnson . . . salute
Miss Flora Macdonald . . . was a striking sight."
(Organists of iDestminster
HOWE, JOHN
\VHITT, MASTER
TAYLOR, JOHN
WHYTT, ROBERT
LEEVE, HENRY
HOOPER, EDMI
PARSONS, JOHN
*i GIBBONS, ORI
DAY, THOMAS
PORTMAN, R
! WARWICK, 1
3 GlBBONS, Cl
1-5 RYAN, ALB
?. BLOW, JOHN
4 PURCKLL, HENRY
BLOW, JOHN
6 CROFT, WILLIAM
5 ROBINSON, JOHN
g COOKE, BENJAMIN
7 ARNOLD, SAMUEL
8 COOKE, ROBERT
12 WILLIAMS, Gi
10 GREATOREX, 1
13 TURLE, JAMES
;: The numbers refer to the; Portraits on the next page.
I Recent investigations make it doubtful if Thomas Warwick
(who is known to have been organist of the Chapel Royal, 1625-41)
was ever officially appointed organist of the Abbey.
1549
;TEK ...
1560
N
1562
iERT ...
157 1 574
'ML'ND
1606 1621
H N
1621 1623
U.ANDO
1623 1625
S
1625 1632
ICHARD
1633 1648
'HOMAS
...
IRISTOPIIER ...
1660 1665
iRTUS
1666 1669
1669 1680
I-:NRY ...
1680 - 1695
16951708
LIAM ...
1708 1727
OHN
1727 1762
IAMIN ...
17621793
VIUEL ...
1793 1802
:RT
1802 1814
IEORGE EBENE/EK ...
1814 1819
THOMAS
1819 1831
s
1831 1882
N FREDERICK
1882 1918
SYDNEY HUGO
1919
CHIEF MUSICIANS OF THE ABBEY 321
A third gap was occasioned by the perfect blank that
I drew in all my inquiries concerning a portrait of
Robert Cooke. The difficulty seemed insurmountable,
till my friend Mr. E. W. Hennell who possessed a
rare collection and a unique knowledge of musical
curios and interesting things removed my difficulty
by presenting me with a portrait of the musician that
is, I believe, the only one extant. He also gave
me a photograph of an object in his possession whose
existence is probably almost unknown. It represents a
cast of Chopin's hand, taken after death, and formerly
the property of the Countess Castelvecchio, at Florence.
But this is to digress.
My collection of portraits is dated as early as
Orlando Gibbons (1625). His portrait is preserved
in the Music School at Oxford, but this is not a
good picture. I have therefore availed myself of the
splendid black marble replica of the memorial bust
in Canterbury Cathedral, which, as already stated
(page 213), was furnished to the Abbey by the
munificence of Mr. C. T. D. Crews on the occasion
of the Gibbons celebration. The names of a few
predecessors of Gibbons can be traced, but no portraits
are known to exist, which also is the case with the
organists during the Commonwealth.
I am glad to have been able to render my series
so complete as to represent pictorially twelve of my
predecessors, thus, with the portrait of Mr. Nicholson,
and that of myself, furnishing a series of fourteen
organists of Westminster.
To consider the chief musicians chronologically :
Those who preceded Gibbons (recorded by Anthony
a Wood) seem to have been John Howe, Master
Whitt, and John Taylor, who held office in the order
given between the years 1549-70. To John Taylor
succeeded Robert Whytt (1570-74), of whom, says
322 A WESTMINSTER PILGRIM
Thomas Morley, he was equal in rank to Orlando di
Lassus. So far as can be learned from the records,
Edmund Hooper who was master of the choristers
in 1588 and organist in 1606 was the first chief
musician whose appointment was officially regularised.
There is however in the Muniment Room a Patent,
dated December ijth, 1616, which recites that in
" consideracion of the good and ffaittefull service of our
welbeloved Edmunde Hooper heretofore of longe tyme
in the said Churche " he be appointed to the " rometh
and place of the Organist within the said Collegiate
Churche." The phrase "of longe tyme" would seem
to show that Hooper had already officiated as organist
for a period probably extending over some years. The
accommodation that he was to enjoy comprised a
lodging in the " Litle Almery . . . contayninge fower
romeths, viz 1 , a hall, and a kytchen belowe upon the
grounde and two romeths or chambers directly over
the same, together with a litle yearde." There is also
a record that Hooper was buried in the Cloisters.
Following Hooper came John Parsons, whose
Patent is also in the Muniment Room, and is dated
1621. It differs from that of Hooper by adding to his
title of organist the words, " and Maister of the
Choristers." Further on, in referring to emoluments,
the document, with an eye to the boys, says : " Also
one bushell and a half of good and seasonable wheate
everie weake weekelie towardes the fynding of the said
Choristers bread and beere." Parsons died in 1623,
and also was interred in the Cloisters.
An outstanding figure in the history of English
music succeeded Parsons, viz., Orlando Gibbons. I
have already in these pages made copious reference to
this master-musician, whose short life added so many
gems to the treasury of our Art. He reigned at the
Abbey for only two years, 1623-25.
DR. JOHN BLOW 323
We have very little information concerning the
organists during the troublous times of the Rebellion
and under the Protector. The names of Thomas Day,
Richard Portman, and (?) Thomas Warwick are given
as having succeeded in the order named.
Then comes Dr. Christopher Gibbons the son
of Orlando Gibbons, who was appointed in 1660.
Previously we hear of him as one of the Children
of the Chapel Royal, and as organist of Winchester
Cathedral; and he seems to have joined the Royalist
Army in 1644. Like his father before him he com-
bined the organistships of the Chapel Royal and
Westminster. Created Mus. Doc. Oxon. per Literas
Regias in 1664, the Dean and Chapter made him
a present of five pounds. Anthony a Wood dismisses
him somewhat cavalierly, saying that he " would
often sleep at Morning Prayer, when he was to
play the organ." He died in 1676, and was buried
in the Cloisters.
In 1666 Albertus Bryan became organist of the
Abbey. Appointed organist of St. Paul's Cathedral at
the early age of seventeen, he was deprived of his post
during the Interregnum, to resume it at the Restoration.
After the Great Fire (in 1666), when St. Paul's was
destroyed, he went to Westminster. He too was buried
in the Cloisters.
Dr. John Blow one of the greatest of the Abbey
organists was appointed in 1669. A pupil of Kingston
organist to (Cromwell) and Dr. Christopher Gibbons,
he established a great reputation as organist, executant,
and composer. In 1680 he resigned his Abbey appoint-
ment in favour of his pupil, Henry Purcell, resuming
the position at Purcell's death in 1695. He died in
1708, and was buried in the North Aisle of the Choir.
His memorial bears an open book, with the " Gloria
Patri " from one of his Services.
324 A WESTMINSTER PILGRIM
Henry Purcell (appointed 1680, died 1695) has been
treated at considerable length in a previous chapter, so
that here I need make only brief reference to his
distinguished career. The portrait given on another
page is reproduced from the splendid engraving which
he caused to be issued in 1683 with his noble set of
Sonatas for strings and harpsichord. I always regard
these Sonatas as among the most remarkable evidences
of Purcell's genius. They have hitherto suffered
unmerited neglect from being practically inaccessible,
the Purcell Society whose invaluable labours I am far
from depreciating having issued a reprint only in
large imperial folio size. A smaller and cheaper
edition is urgently wanted, and separate parts for each
instrument should be published.
I am fortunate in having in my charge a copy of
these Sonatas which I think must certainly have
belonged to the composer himself. There are hundreds
of additions to the score in the way of figures and
accidentals ; also, in one or two instances, most valuable
directions regarding tempi are inserted. The late
Sir Hubert Parry agreed with me that there was
strong probability of this copy having remained in
Purcell's possession, and being corrected by him.
The examples opposite are from Sonatas Nos. VI.
and VII. in this collection. They are in reduced
facsimile, but are interesting as showing some of
the numerous emendations referred to.*
As already stated, Dr. Blow resumed the organist-
ship in 1695, and was followed by his pupil, Dr. Croft,
in 1708. Croft was one of the great men of the old
Cathedral school, yet I suppose he is better known for
~- ;; The word Adagio in bar 2 of the first example, and in bar i of the
Canzona (second example) is not to be found in any other copy that I
have come across, and presumably is in each case Purcell's own addition.
The numerous accidentals which have been added will also not escape
notice.
PURCELL FACSIMILE
325
the extraordinary popularity of his fine tune " St. Anne,"
sung to the hymn " O God, our help in ages past."
This hymn has been more frequently used during
the past few years more especially on days of prayer
and thanksgiving than any other sacred song in the
English language.
M* . fa)
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Croft died in 1727, and was succeeded in the same
year by John Robinson, of whom Dr. Boyce tells us
he was " a most excellent performer on the organ."
His double-chant in E flat still enjoys a wide esteem.
He died in 1762, and was interred in the North Aisle,
resting near Henry Purcell, and in the same grave with
Croft. An important change was made in the position
of the organ during Robinson's organistship, when it
was removed from the North side of the Choir and
erected on the Screen (see page 316).
326 A WESTMINSTER PILGRIM
Dr. Benjamin Cooke was appointed in 1762. He
must have been something of a prodigy, for we read
that he became deputy-organist to John Robinson
at the early age of twelve years. Best known for his
Service in G, he was also a prolific composer of glees,
canons, &c. He died in 1793, and was buried in the
West Cloister.
Dr. Samuel Arnold succeeded Benjamin Cooke in
1793. He was a musician of many parts, who, before
choosing a Church career, had been composer to
Covent Garden Theatre and proprietor of Marylebone
Gardens, in which popular resort of that period he
was also director of the music. Musico-editorial work
largely occupied his attention, and he produced an
"Arnold Edition" of Handel's works. Before being
appointed to the Abbey he was organist of the Chapel
Royal in 1753. At his death, in 1802, he was interred
in the North Aisle, the musicians' campo santo.
Robert Cooke, son of Benjamin Cooke, received the
appointment after Arnold, in 1802. He left a very
melodious and charmingly-written Evening Service.
The original manuscript is still in the organ-loft, and
bears the statement that it was written at Eastbourne
(surely then a tiny fishing village). Cooke was tragically
drowned in the Thames in the year 1814.
George Ebenezer Williams followed Cooke in 1814,
and was organist for the space of five years. Among
his remains is a very innocent tutor for the pianoforte.
He died in 1819, and was buried in the South Cloister.
Thomas Greatorex, of whom I have already given
some account (see page 320), was appointed in 1819.
In speaking of him I seem to reach across the years,
and to draw nigh to the period that held some of the
giants in English music for in the room where I now
write I had conversed with the son of him who was
contemporary with Dr. Arne, and who might have
TURLE'S ENORMOUS HAND 327
spoken with those who had heard Blow and Purcell play
in the great Church near by. Greatorex was a good
mathematician and a member of the Royal Society,
and in many other ways a remarkable man. He died in
1831, and was buried in the West Cloister.
James Turle, the last of my predecessors, succeeded
to the appointment on the death of Greatorex (whose
deputy he had been for twelve years), in 1831. At an
early age he had come under the influence -as an organ
student of John Jeremiah Goss,* and G. E. Williams,
organist of the Abbey. Turle is known for his very
melodious chant settings, while there is also a very fine
hymn-tune of his, " Westminster," that is sung in
all the Churches. He was the first editor of the
" Westminster Chant Book," published by Messrs.
Novello upwards of sixty years ago. The original
preface of this collection states that "the object of it
is to combine sufficient choice with order, and, by
publication of the arrangement, to enable the congre-
gation to join in the Psalms."
Turle was an exemplar of the dignified and reverent
traditions of the School in which he had grown up.
He had cultivated a remarkable aptitude for playing from
the figured bass, in which Goss his early companion
and life-long friend also excelled. It is recorded
of Turle that he had an enormous hand, and that
one day at the German Embassy when he met the
Chevalier Neukomm, who boasted that he could
cover an octave and three notes Turle quietly
laid his hand on the keyboard, saying, " One more,
for luck." He easily took into his hand an octave
and a-half. It is well known that he was an inveterate
whist-player, so that his remark would fall naturally
from him.
* John Jeremiah Goss (1770-1817) was an uncle of Sir John Goss (1800-
1880).
328 A WESTMINSTER PILGRIM
Turle held the office of organist at the Abbey for
fifty-one years, although, as I had been appointed
" permanent deputy-organist" in 1875, he was relieved
of all active responsibility during the last seven years
of his life, which were in fact a period of retirement. He
died in 1882, and was interred in Norwood Cemetery.
A fine stained-glass window, erected in the North
Aisle by one of his sons, forms an effective memorial
of him near the scene of his ministry, a memorial into
the design of which, along with his own portrait,
is worked the portrait of his wife, who is thus
remembered with him.*
Necessarily the last portraits that I can present in
this gallery of organists of Westminster are those of
Mr. Sydney H. Nicholson and myself. A few pages
later on I include a portrait which, it will be noted,
bears the signature of Sir William Richmond, K.C.B.,
R.A., the distinguished artist, whose name is so well
known in connection with the mural decoration of
St. Paul's Cathedral.
This portrait doubtless owes its existence to a little
incident early in 1918. I had already had the pleasure of
meeting Sir William at the Athenaeum, and at various
public functions ; but our friendship arose out of a letter
he wrote to me with reference to a speech of mine, made
at a meeting of the Society of Arts, at which I was
asked to take the chair, when a paper was read on
"The British Pianoforte Industry." f
In an animated discussion that followed, many
prominent pianoforte makers took part, and were able
to throw a very striking and disturbing light upon the
methods employed by the Germans to capture the
* For some of the information concerning the organs and organists given
in these pages, I am indebted to an article by the late F. G. Edwards in
the June, 1907, issue of the Musical Times. The material for that article
was, however, largely furnished by myself.
f By Dr, Reginald S. Clay, Principal of the Northern Polytechnic
Institute.
AN HISTORIC BELL 329
trade and industry in the Colonies and elsewhere. I
am afraid that I was rather outspoken in my remarks,
as my sympathies were entirely with the English
manufacturers. I was afterwards sorry for my heat,
and apologised ; but the Press seized upon my speech,
serving it up as an amusing paragraph. Sir William
saw the report, and wrote to congratulate me. It was
indeed gratifying to receive such a letter from him.
This incident was the means of cementing our friend-
ship ; and Sir William has lately done me the great
honour of drawing the portrait referred to above.
The sittings have been indeed pleasant interludes,
gaining much in interest because the artist is himself
devoted to music, spending much time in composing.
We therefore met on common ground, at intervals
finding relaxation in discussing questions on harmony
with great zeal.
It is an easy transition in tracing the evolution of
the musical installation at the Abbey and its exponents
to turn also to a consideration of the bells. All the
bells six in number except the treble, or smallest,
were cast at the old Whitechapel Foundry of Messrs.
Mears & Stainbank.* The treble bell dates from the
early I4th century; another bell from 1583. These
two bells, therefore, must have rung to celebrate the
destruction of the Spanish Armada. When recently it
was determined to ring the bells at the signing of the
Armistice, it was discovered that they were not in a
condition to be used. In fact, they had not been rung
in a peal since the Coronation of George V. In
determining upon the necessary overhaul, it was
decided to take the opportunity of adding two more
bells, so completing the octave. This addition was
* This firm commenced trading in 1570, and is believed to be the oldest
in London. The records show that Messrs. Mears & Stainbank have been
connected with the Abbey from the same date.
330 A WESTMINSTER PILGRIM
rendered possible by the munificence of two benefactors
who wish to remain anonymous. It is hoped that the
work will be completed in time to ring in the Peace.
My researches in the Muniment Room yielded some
interesting material concerning the occasions when the
bells were pealed, and I reproduce a " Ringer's Bill "
for 1704, which makes quaint reference to some notable
events and anniversaries :
s. *
The Ringers Bill begun in Feberary y d 6
for ringing for queen Anns birthday
ordered by my lord ... ... ... oo 06 08
March 8 for ringing for queen Anns proclamation
day ordered by my lord ... ... oo 06 08
April 23 for ringing for queen Anns coronation
day ordered by my lord ... ... oo 06 08
May 29 For Ringing for King Charles restoring
two the Crowan ... ... ... oo 06 08
July 2 For Ringing for the great newes for the
taking of Dounnaworth ordered by my
lord ... ... ... ... ... oo 13 04
Aug. 15 For Ringing for the great newes for the
taking of Count tallord :!: ordered by my
lord ... ... ... ... ... oo 06 08
Aug. 14 For Ringing for the taking of gibraltow
ordered by Dr. Onley ... ... ... oo 06 08
Sept. 7 For Ringing for the thankes giving Day
ordered by Dr. branollf ... ... oo 06 08
Sept. 14 For Ringing for S r georg rouckj: taking
the french fleett ordered by Dr. branoll oo 06 08
Oct. 10 For Ringing for the taking of ulme
ordered by Dr. branoll... ... ... oo 06 08
For Ringing one the 5 of November
ordered by my lord ... ... ... oo 06 08
Nov. 14 For Ringing for queen Cathtorines
birth day ordered by my lord ... ... oo 06 08
Nov. 7 For Ringing on quean Elisibirth birth
day ordered by my lord ... ... oo 06 08
Nov. 28 For Ringing two dayes together
Nov. 29 For the taking of Landow by my Lordes
order ... ... ... ... ... oo 13 04
05 06 08
* Marshal Tallard, who was taken prisoner at Blenheim,
f Dr. Brevall, a member of the Chapter.
I This probably refers to Sir George Rooke's engagement with the
French fleet off Malaga, in August, 1704.
A RINGER'S BILL 331
Dec. 14 For Ringing for my Lord Molburow*
cuming home from flanders ... ... oo 06 08
05 13 4
Jan. y d 2, Received then the full contents of this bill for Ring
1704 by me
GILES JONES.
Many of these names and events recall momentous
historical occasions. They will readily be recognised,
howsoever camouflaged in the quaint orthography of
Master Giles Jones.
* Duke of Marlborough.
CHAPTER XXIX.
Resume of the Work of a Cathedral Organist Duties and
Emoluments of Lay-Vicars Choirboy Education The Arch-
bishops' Report Status and Privileges of the Organist
Organists' Benevolent League The Question of Musical
Education : Provision for Students.
So many years of my life having been spent in the
ecclesiastical world, whose atmosphere has been of the
very breath of my life, I may be forgiven for devoting a
few pages to some consideration of the past and future
state of English Cathedral and Church music.
I have already shown that the work of a Cathedral
organist is very strenuous. The daily training of the
boys, the general rehearsals of the whole choir, the
ever-present necessity for presenting an unruffled front
to, and working smoothly with, the various authorities,
combine to impose a great strain upon the organist's
tact and temper. Few there are who, without personal
experience, can realise the amount of energy, tenacity,
and restraint called upon and the anxiety entailed, if
success is to be achieved. Even if the organist has an
official assistant (and I have already said that I myself
worked for some twenty years after my appointment at
the Abbey without such recognised assistance) to whom
he can reasonably on occasion delegate his duties, he
yet retains the responsibility for the services and
practices, and for maintaining the music on every
week-day and the numerous services on Sundays not
to mention the Festival davs of the Church at the
J
highest possible standard.
AN IMPOSING LIST 333
This will be better appreciated if I give, by way
of illustration, a few facts concerning the amount of
music that has to be provided for the ordinary services
in Westminster Abbey. In one year (1907, and I select
this year merely as a representative twelve months) we
sang upwards of four hundred different anthems, and a
hundred and twenty-eight different services. I lay
special stress on the word " different," the sense of
which will be readily perceived. Some of this music
was of course performed more than once in the course
of the year, as over seven hundred choral services were
given. In 1913 we sang four hundred and thirty-seven
different anthems, and a hundred and forty different
services. In addition to these items, there were
innumerable hymns and chants which had to be
rehearsed.
To ensure an adequate performance of some of the
anthems is no light task. The selection I have
chronicled includes not only much that is worthy of the
great English Cathedral School for the past four
hundred years, but many beautiful and elaborate
specimens of the best composers of all countries.
Palestrina, Arcadelt, Dowland, Bering, Eccard, Jacob
Handl, Marenzio, Orlando di Lasso, Vecchi, Vittoria,
and, of course, Bach, Handel, Mendelssohn, &c.
(I have not attempted to give a complete list), present
an imposing array.
Thus it will be seen that the work is very heavy,
and must make great demands upon the time of the
organist and upon his physical resources.
I have referred to the necessity for working har-
moniously with the various authorities in and out of
the Chapter. In this connection it is essential that
the organist should find a cordial collaborator in the
Precentor. It is a very serious and important fact
that no success can ensue in the administration
334 A WESTMINSTER PILGRIM
of the service music unless there is perfect accord
between the organist and the Precentor. In my
long career, I have, as already stated, worked with
eleven Precentors, so that I am able to speak authori-
tatively on this matter. If the Precentor considers
himself the superior musical authority, the position is
impossible. As constituting a link or means of
communication between the organist and choir, and
the Dean, the Precentor can perform much valuable
work, and can carry out many duties relating to the
discipline of the choir, thus relieving the organist of
much worry. The custom now prevalent at the Abbey,
and at many Cathedrals, of the music-lists being
compiled by the Precentor, need be no obstacle to a
good and wise selection, if the organist continues to be
allowed to see the lists and to make suggestions before
they are issued. My experience teaches me that if, in
their respective spheres of work, the organist and
Precentor studiously avoid those paths that must
inevitably clash, and if they are equally supported by
the Dean, all will be well.
Yet a cause of failure may be found to occur else-
where than in the official relationship of organist and
Precentor. I refer to the impossibility of considering
the individual tastes of the various Canons. I am
reluctant to suggest that a Canon should not express
an opinion upon the music of the Church, and
already have cordially acknowledged the help received
in the early days of my career, from the loyal
support of Canons when I was not impartially upheld
by the Dean. But no man can serve seven masters
six Canons and a Dean and the radiating centre of
authority is undoubtedly the Dean.
Some amusing stones might be told of quaint
suggestions made by clerics who possessed but little
knowledge of musical affairs. An incident occurred
DUTIES OF LAY-VICARS 335
not long ago at a country Cathedral, when a member
of the Chapter proposed that to " shorten the service,
in future only single chants should be used for the
Psalms " ! I remember in my early days being called
to account for a slight change that timerously I had
introduced in the method of starting the Psalms.
My censor was a Canon who only came into
residence for one month out of the twelve. For-
tunately I had the Precentor with me, so nothing
serious happened.
A matter vital to the success of the choral service
demands the careful consideration of the authorities,
viz., the duties and emoluments of Lay- Vicars.
Their duties are onerous in most Cathedrals and
Collegiate Churches they have to be present at all
week-day and Sunday services ; but their salaries are
absurdly low, on an average not more than 100 a
year. I do not think any real advance has been
made in the stipends of these necessary members
of Cathedral choirs during the last fifty years, while
the salaries of almost every other body of men
especially during recent months have been greatly
augmented. Again, considering the nature of their
employment, Lay- Vicars ought to be retired at a
certain age and with a pension. This desirable
reform has been in force at the Abbey for several
years past, with the best results. The absence of any
such arrangement in my early years at Westminster
sometimes had a distressing reaction on the services,
while the impossibility of securing adequate presentation
of the music because of the physical incapacity of an
aged singer, frequently made my life very unhappy.
With much diffidence, but with a real feeling of
responsibility, I now venture to make a few remarks
upon the daily services and the status and privileges
of the organist.
336 A WESTMINSTER PILGRIM
I have seen in the recently-published Report of the
Archbishops' Committee upon the administrative
reform of the Church, that some suggestions are put
forward with regard to important alterations in the
character of the daily choral services in Cathedrals.
In order that the choristers may be free to attend a
Secondary school, the morning service is to be sung
in plainsong by men only, while the evening service is
to be held at a later hour.
If in future the character of the music and the time
of the daily services in Cathedrals are to depend chiefly
upon what is convenient to the choirboys, and not upon
what would be convenient to or in consonance with the
wishes of those who attend to worship at those services,
it is well that we should have the courage openly to
admit the fact, and recognise that it is the choirboy,
and not the Dean and Chapter, to whom in the future
we shall look as the final seat of authority in such
matters. It seems to have been overlooked that the
Cathedral chorister is selected and engaged for
the special purpose of rendering the music at the
choral services, and not for the purpose of supplying
him with a good education free of cost. This only
comes in as a side issue. In view of the fact that so
many of those educated at Choir Schools have risen
to eminence in their chosen professions, and that
it has not been possible to point to any special
deficiencies in their classical equipment, it is not
unfair to assume that when a Cathedral Choir School
has a competent master and is organized in a
satisfactory manner, the choirboys do not suffer in
their general education.
Quite apart however from this question of choirboy
education, I consider any attempt to alter the character
of the daily services in the manner suggested would be
a mistake. There is no doubt that to a certain kind of
.;
if
.Y
y%
PILGRIM
Wc';\-:hop> .'.."ir'.iUte cp^u the administrative
'-:>:;-< . :-, 4 c^ar:i to important alterations : n TO,
; har ,.).;."' -r. :ht dauv' ..-.hora! services in Caihedrols
S ..:." '-i-.'; .>eh''ol, tiu morning service is to be sung
; ' ; :i>;;'-Ji, ! by men onK , while t;v j evening a-crvice is
:,.!.:' at a" later hour.
M future the eb-uuoUr 01 the music and *:)::. tirf.e
i.ne i::es h> Cathedrals are io tieDend chiefly
; v -i.)i - - . ' lo the choirboys; rind i".ot upon
-'; :':.. s . 'c-n to or :n consonance v/uh the
nd to v/Gi\-hip at those >ervices.
ho ! .i3d have tbe courage openly to
admil tht i p-sc that it is the ehoirbov,
io vvhosv; in ih':: future
shal! l(H">i' .'i ! ;ti of aut.h''''''ty in sarh
matti :n ov-Tloolre-J chat the
Cathedra.3 honst;i' . :::d and engaged to:
the sr : e'.'.i;'..i pvi'po; -.-. . r ' ; og tuc music, at 1 the
oho: a! services, ^;vJ n^a ; -. v-urriose. ol Siipplying;
A i. J. .' tT?
him svith .:' good, edu ".v.e ot cc-s!:. Th-> (.>n)y
coine^ i.o :is a sich; is^-iv. > . vic.v of the l^ct ihin so
irriny of tli(; - se educate--! at '-'"hois Schools have rK : e^
to eminence in thrir h.--: : a professions, anu thai
it has not been possibi-. i.o ;>oiiit to any special
deficiencies in tl:eir i. las.- u;;U quipnient. it is not:
unfa? r to a^:-,urYic that -'Tie?- :. f ^tliedra; Choir S;:hoo
ruis a v:oi;petcnt rnnsier aji*:! o ; . organised in a
^attsiactory mariner, the choii hoyr, do not suffer in
their general education.
Q-'iire apart however fior; t.h^..s question *? choirboy
education, 1 consider any auenvpi to a'tei the character"
of the clady .services in the maimc r ' suggested would be
- rnistakt;. There is jio doubt that to a certain kind of
FROM A PASTHL DRAWING 15 V SIR WILLIAM RICHMOND. K.C.B.. R.A.
STATUS OF THE ORGANIST 337
mind plainsong makes a very strong appeal, but I am
quite sure, from my personal knowledge of the general
character and musical instinct of the average worshipper
at Cathedrals and elsewhere, that while plainsong
might appeal to a few, to the vast majority daily plain-
song services would be most distasteful. Moreover,
the introduction of them would destroy at a blow
the great and inspiring traditions which have been
associated with the daily services at our Cathedrals for
hundreds of years. I readily admit that continual
plainsong services would not have a strong attraction
for me, therefore I have tried to view the matter from a
detached and impartial point of view, and believe I
have expressed the feelings of the vast majority of
those who worship at our Cathedrals, to whom the
present form of service when rendered in a careful
and reverent manner appeals as no other form of
service can do.
Concerning the time of daily evening service, this
varies at different Cathedrals, and I imagine that
hitherto the time chosen has been selected because
local conditions made it the most convenient for the
worshippers. If a service is intended to be an act
of worship, surely it should take place at a time when
worshippers can attend, and not merely at a time
specially selected to meet the convenience of some of
the officials.
The exact position of the organist in connection
with the other officers of the Cathedral is, as
has been shown, not always easy to define, and
has at times led to dispute and difficulty. It is
therefore with great surprise that I notice in the
Report that while it is suggested that a new
set of statutes should be framed defining the powers
and positions of many of the ecclesiastical and
other officers of Cathedrals, no mention whatever
z
338 A WESTMINSTER PILGRIM
is made of the organist. In view of the fact that
during the past fifty years the whole musical and
general education and social position of the organist
have advanced in a very marked manner, and that
musicians, both Church and otherwise, mix upon equal
terms with all classes of professional men, it is of the
highest importance that any uncertainty or ambiguity
as to the organist's position in the Cathedral body
and his security of tenure should be definitely removed.
No new statutes would be satisfactory that did not
take such matters into consideration.
Although it is many years since I held the post
of organist at a Parish Church, yet the number of
my pupils who hold such appointments and my long
and intimate connection with the Royal College of
Organists make the welfare of organists of parish
churches a matter very near to my heart. It is
therefore with great satisfaction that I have watched the
development of efforts recently made to give organists
and choirmasters a more satisfactory legal status. I
consider their present position unsatisfactory in many-
ways, and frequently this has led to their being
treated in a manner both harsh and arbitrary. Of the
various remedial propositions that have been put
forward on the one hand by the organists them-
selves, and on the other by the Church authorities
which are likely to prove the more satisfactory I am not
prepared to say. I am persuaded that any reform
in the administration of the Church in its parochial
matters would be incomplete unless the legal status
of the organist be clearly defined and it be
stated by whom he should be appointed and the
conditions under which he might be required to
relinquish his office. It surely is the barest justice
to the large number of educated men and able
musicians who are in charge of the music in parish
ORGANISTS' BENEVOLENT LEAGUE 339
churches that they should have a reasonable security
of tenure while they perform their duties in a
satisfactory manner.
For a long time past also I have been concerned at
the sad lot of the great body of organists whose pay is
never at all commensurate with their responsibilities.
Their Church duties are onerous, but in order to live
they have to devote themselves to teaching, which
frequently becomes an unremitting drudgery. If they
have the inclination and genius to compose they
have not the time, or their compositions reflect the
dull and cramping influences of monotonous work
and unresponsive pupils. They cannot in many cases
provide for their dependants ; when they grow old and
their powers are failing, and pupils are hard to retain,
then are they frequently faced with grinding poverty.
Pondering these things, I at length suggested the
formation of an Organists' Benevolent League, the
conditions of membership to be : (i) No regular
subscription ; but (2) an undertaking to give yearly,,
if possible, an organ recital or some other musical
performance, the proceeds, after paying expenses,
to go towards a fund for the relief of destitute
organists and their dependants. The Royal College
of Organists took up my suggestion, lending their
offices and the necessary clerical assistance ; the Hon.
Secretary and the Registrar undertaking the duties of
Secretary and Treasurer. The League has been a
real success having relieved a great number of cases,
very often poor ladies whose fathers could not make
provision for them and it is already able to provide
a few small pensions. It has now over ^1,000 invested,
while the organization is on a sound basis.
Much of the foregoing brings me to the subject
of musical education in general. This is indeed on,
a much higher level than when I was young. The
340 A WESTMINSTER PILGRIM
many Colleges and Schools of Music are all admirably
managed, and admittedly are highly efficient in their
organization for inculcating musical knowledge. Yet
in one direction I must confess that constantly, in the
midst of so much perfection, am I conscious of
disappointment, and that is in the matter of their
ability to turn out singers who are really efficiently
equipped as musicians. The instrumental students
are as a rule excellent readers and executants ; the
composition students understand their business (even
if they have not all got genius) ; but the vocalists,
in far too many cases, are poor readers and therefore
bad musicians. I am constantly appealed to by young
singers to "give them a chance" at the Royal Choral
Society. But I have very often regretted doing so,
the aspirant having frequently given me a bad time.
A couple of singing-lessons a week will not make
a singer read well. It is only daily practice that
will evolve this facility; so it is that the little choir-
boys, aged from nine to sixteen, who have to prepare
over four hundred anthems a year, learn to read
perfectly. Such is the only way to acquire this most
necessary art.
The authorities of our Colleges and Schools of
Music should labour to establish upon a sound basis
this great and indeed invaluable part of a vocalist's
equipment.
The recognised musical training in vogue in my young
days was largely and had been up till then almost
exclusively in the Cathedrals. After a boy had sung
for years in the choir he had become saturated with
vocal counterpoint. Goss said to me once that such
a training was invaluable because the music the boys
sang '* ate into their marrow." The great advantage,
however, of hearing also good instrumental music was
often denied them.
TIMELY ASSISTANCE 341
In the training that is advocated in the Colleges
and Schools of Music to-day, the student becomes
saturated with instrumental idiom. Very little vocal
counterpoint comes his way, and frequently his
vocal writing suffers. It is probable that the best
results are produced in the case of a Cathedral
choirboy, and then by entering him at a recognised
School of Music after he has spent a year or
two in the organ-loft. By this procedure his intro-
duction to instrumental freedom will not interfere
with his solid foundation of vocal counterpoint.
The results of such a training are to be seen in
the careers of Sterndale Bennett, Stainer, Sullivan,
Charles Macpherson, and Walford Davies, to name
only a few.
Still another point arises in connection with the
training of students in our Colleges and Schools oi
Music. I refer to the case of the young composers.
Surely some arrangement might be made whereby they
were assured a reasonable subsistence after they have
graduated. Having in mind the manner of working of
the Oxford and Cambridge Fellowships, which so
opportunely come to the aid of literary and scientific
scholars upon their entry into the world, I have
already suggested, in an article in the Press on
" Music after the War," that the Carnegie Trust should
employ some of its ample funds in this way to aid
young musicians on the threshold of their career. A
man may compose a symphonic poem, and get the
Carnegie Trust to publish it, but he will not be able to
make a living, let alone keep a wife and children, on
this barren success.
If he could be sure of a certain income for two or
three years, he would be encouraged to write not pot-
boiling ballads, but something really artistic and
enduring.
342 A WESTMINSTER PILGRIM
I am glad to be able to say that Trinity College of
Music, recognising this urgent need, has resolved to
found a scholarship to be held by a student of
composition who has completed his College course.
It is proposed to devote 100 a year for the purpose of
assisting the promising young composer who may be
selected, and with this aid to subsistence it is hoped
that he will be able to devote his efforts to the
production of worthy music that shall aim only at
the highest ideals.
CHAPTER XXX.
Some Devoted Assistants in the Organ- Loft Service Music for
the Abbey : " Palestrina and His School " End of Pilgrimage :
the Philosophy of Humour Apothegm of Lord Houghton's
A Lancashire Adage Letter from Bishop Ryle Valediction.
BEFORE I close this record I must not omit a word
of thanks to some of the younger organists who have
been associated with me. At Manchester I had a
most valuable assistant in Mr. Wilson, who has since
attained high rank as a trainer of the Halle Choir and
the Birmingham Festival Choir. At the Abbey I had
for many years the most devoted and conscientious
help of Mr. W. J. Winter, and later of Dr. Alcock* and
Mr. E. S. Roper.
As will be seen from the foregoing pages, there are
many extra occasions besides the regular Abbey services
that have to be provided for ; and yet the list does
not by any means include all the calls made upon
the organist. But I am not aware of any time on
which it could be said that the service music was
not reverently and adequately rendered, and I desire
here to place on record my gratitude to those already
mentioned, and to many others, who have devotedly
helped me during a long course of years.
My relations with the various Precentors at West-
minster have been invariably cordial. Mr. Flood Jones
had been in office some years before I was appointed.
He was rather inclined to conservatism in music.
It was, however, a bad time to be original, for just
* Late organist and composer to the Chapel Royal ; now organist of
Salisbury Cathedral.
344 A WESTMINSTER PILGRIM
then as I have shown in my earlier pages there were
so many Lay- Vicars past their prime who still
occupied the choir stalls. Always a very amiable
man, it was not difficult to find in Mr. Flood Jones
an agreeable and loyal colleague. In one direction he
did splendid work for the Abbey when he succeeded in
organizing and maintaining a most efficient voluntary
choir for the special Sunday evening services. He
was able to exact from the regular choristers an
unfailingly cheerful obedience.
As successor to Mr. Flood Jones came the Rev. Dr.
Troutbeck, whose activities in the way of musical
editorship are well known. He was mainly responsible
for the establishment of a school-house for the boys,
and was zealous in striving always to maintain the
musical services at a high level. He held office only
for about four years.
I think, however, the happiest period of my
Westminster life was during the Precentorship of
the Rev. H. G. Daniell-Bainbridge, who succeeded
Dr. Troutbeck. He did not pretend to be a learned
musician, but his judgment was always good. A
really studious Churchman on points of ritual, he
had accumulated a wide knowledge of what was
appropriate for the Church's seasons, and we worked
together in perfect sympathy, always meeting regularly
at his house to settle the music and rehearsals
for a fortnight in advance. We never had a difference ;
as he once said, " we had no time to quarrel," while the
choir yielded respect and obedience as never Precentor
had had before. We collaborated in editing music for
the Abbey services, notably a new Psalter, and -most
valuable contribution of all a fine volume of music
entitled " Palestrina and his School." It includes the
names of Jacob Ha'ndl, John IV. of Portugal, Marenzio,
Palestrina, Vecchi, and Vittoria, and furnishes suitable
THE GRACE OF HUMOUR 345
unaccompanied Motets for most of the great festivals.
I have a greater pride in this volume than in any of my
compositions. The Rev. Daniell-Bainbridge's removal
to an important living was a real blow to me, and a
great loss to the Abbey.
In the Rev. T. R. Hine-Haycock, and in the present
Precentor, the Rev. L. H. Nixon, the Abbey has had
the benefit of the labours of really earnest men of whom
I have none but the happiest recollections of my work
with them. During the years of the War it became a
very difficult matter to sustain the high standard of the
services. Many of the Lay-Vicars had been called to
the Colours, and their places could not be filled. The
boys, however, worked splendidly. It was an arduous
and anxious period, but we made the best of it, and
doubtless it will be conceded we emerged creditably.
I have now attained the end of my Pilgrimage so far
as work at the Abbey is concerned, but still pursue
many paths of musical enterprise. I do not know if
this record will after all be thought to possess much
interest, yet so many have asked me to undertake the
task, entailing as it does a description of many eventful
years crowded with responsible musical doings, that
possibly the story may be worth telling. Some there
may be who will see in my chronicle a too frequent
propensity to extract humour from all manner of
situations. The experience of a long life has however {
taught me that sweet reasonableness ever waits on
humour, whose warm radiance searches and dispels
many shadows. There is a well-known hymn by Joseph
Addison which we have often sung in the Abbey,
containing a verse that I always loved to accompany :
Ten thousand thousand precious gifts
My daily thanks employ,
Nor is the least a cheerful heart
That takes those gifts with joy
346 A WESTMINSTER PILGRIM
and in this connection I would venture to quote
what Monckton Milnes (first Lord Houghton) said of
Henry Lushington* : " Perhaps he paid what
appears to be the inevitable penalty of humorous
men in their relations to public life that of seeming
unsteadfast to the narrow-minded and insincere to
the stupid."
I have had much to be thankful for good health
and abundant encouragement. The one desire of my
youth, as I have said in my earlier pages, was to
be a Cathedral organist I did not aspire to be more
than that. The attainment of my ambition came to
me in early life, and the appointment to Westminster
Abbey when still young. Now I am " old and grey-
headed" I am relinquishing to a younger man the
responsibility of teaching choirboys and directing the
Abbey music all that great and arduous labour that
the position of chief-musician of Westminster entails.
Older men do not as a rule like to stand aside for
younger men. But there is a saying in Lancashire
that " There is nothing to beat a good old 'un except
a good young 'un," and I hope and believe that in
Mr. Sydney H. Nicholson the " good young 'un" has
been found. Although I surrender my seat at the organ
in such a place as Westminster Abbey with natural
feelings of sorrow, yet, as I have said, I have still the
happiness of continuing in many other spheres of
important musical work which will I hope occupy
me as long as I have health and strength to fulfil
them properly.
Innumerable letters have reached me from a wide
circle of friends in connection with the, to me,
momentous step that I have taken. I venture to
select one, written by him who for many years has
been the principal chronicler of the comings and
* " The Cambridge ' Apostles,' " by Francis M. Brookfield (1906).
LETTER FROM 'TOBY, M.P." 347
goings of public men Sir Henry Lucy, so long known
to readers of Punch as " Toby, M.P." :
" Whitehaven, Hythe,
"Kent,
"August 4th, 1918.
" MY DEAR BRIDGE, I trust that your proximate
retirement, which I see announced, is not consequent
upon failing health and strength ? Anyhow, after
forty-three years' work in a responsible position, you
have earned the right to a period of leisure, which I
trust may be long and happy.
" My wife and I preserve recollections of the nights
long ago when, in the darkened Abbey, you discoursed
divinest music. It will be hard to replace you in the
organ-loft.
" Yours faithfully,
" HENRY LUCY."
Sir Henry refers to some recitals that I gave at
various periods in the Abbey. These took place at
about nine o'clock in the evening, and as a rule there
were no lights except in the organ-loft. Many of my
friends frequently recall these evenings, which unfor-
tunately had to be suspended during the War, the
air-raids making such functions impossible.
The "period of leisure" visualised by Sir Henry
promises to be far removed from placid browsings :
rather does it beckon to strenuous devotion to the work
that remains. And when at times I yield to the lure
of the Valley of Glass it will be for no " philosophising
and world-despising in the solitudes" (as Evelyn,
self-interned at Wotton,* wrote to his friend and
brother-Diarist Pepys) although from thence (again
* August, 1692.
348 A WESTMINSTER PILGRIM
to quote Evelyn to Pepys) I may amusedly "look
down upon the world with wondrous contempt when I
consider for what we keep such a mighty bustle."
During the later years of my activities at the
Abbey I have indeed been more than fortunate
in the constant encouragement and recognition
which I have found from Bishop Ryle, the present
Dean of Westminster. The letters that he has kindly
written to me after many of our great services speak
for themselves, but I cannot withhold my special
thanks to him for his letter written on the day when
I laid down my charge of the Abbey music. At such
a moment and crisis in my life it had a moving effect,
and for this kindly act of affectionate consideration
I am exceedingly thankful. The following is Bishop
Ryle's letter:
"The Deanery,
"Westminster, S.W. I.
"December 3 is/, 1918.
" MY DEAR SIR FREDERICK, Let me send you a
line, though I feel the words are difficult to frame.
How can I sufficiently thank you for all you have done
for the Abbey and the Abbey music!
" I cannot express what Stanley, and Bradley, and
Armitage-Robinson could each of them have expressed
more adequately, and yet not all of them would have
expressed entirely. With your last Dean you have
been all that was kind, and thoughtful, and friendly;
and now that 1918 is drawing to a close I can feel
how keen must be the wrench of the severance from
your life's best work. But I have no doubt that the
step is a wise one. You will still be with us. May
God give you and Lady Bridge many years yet of
good health and unclouded happiness.
"Yours affectionately,
"HERBERT E. RYLE."
A LASTING SOLACE 349
For the long period of sixty-eight years I have sung
or played accompaniments to the Psalms of David.
Like many before me I have constantly found solace
and inspiration in these Songs of Praise. This beautiful
verse has always specially appealed to me : " One
thing have I desired of the Lord which I will require,
even that I may dwell in the house of the Lord all the
days of my life, to behold the fair beauty of the Lord
and to visit His Temple." This privilege is, happily,
still to be mine; and as I pass my remaining days
in the Cloisters, and attend the services of the
Abbey, I shall, I hope, often join with sincere
thankfulness in another verse of the Psalms the old
Pilgrims' Psalm it has been called a verse specially
dear to me as having been inscribed on the grave-
stone of my Father, from whom I inherit my love
for Cathedrals and their music :
"THY STATUTES HAVE BEEN MY SONGS IN THE
HOUSE OF MY PILGRIMAGE."
APPENDIX
BACH
BEETHOVEN
BERLIOZ ...
BRAHMS ...
BRIDGE
THE following is a list of works performed by the Royal
Choral Society under the Author's direction during the years
1896-1918. The figures refer to the number of times of
performance :
Mass in B minor ... ... ... 3
Ninth (Choral) Symphony ... 2
" Ruins of Athens " ... ... i
"Faust" ... ... ... ... 4
" The Childhood of Christ " ... i
"Requiem" i
" Triumphlied " ... ... ... i
"A Song of the English " ... 2
" Ballad of the Clampherdown "... i
"Callirhoe" ... ... ... i
" Flag of England " ... ... 3
" Forging of the Anchor" ... i
" Rock of Ages" i
" The Inchcape Rock " ... ... i,
" A Tale of Old Japan " 2
"Hiawatha" ... ... ... 15
"Kubla-Khan" i
"The Atonement"... ... ... i
" The Blind Girl of Castel-Cuille " i
" Coronation Ode " ... ... i
"The Veil" i
" Stabat Mater " i
" The Spectre's Bride " i
"Caractacus" ... ... ... 2
" Dream of Gerontius " ... ... 13
" For the Fallen " i
"KingOlaf" i
" The Apostles " 2
"The Kingdom" ... ... ... i
" The Music Makers " i
"The Spirit of England" ... i
GOUNOD ... ... "Redemption"
COLERIDGE-TAYLOR
COWEN
DVORAK
ELGAR
APPENDIX
351
HANDEL ...
HAYDN ...
LEONI
MACKENZIE
MENDELSSOHN
PARKER, HORATIO
PARRY
SAINT-SAENS
SCHUBERT
SPOHR
STANFORD
SULLIVAN
VAUGHAN -WILLIAMS
VERDI
WAGNER..
WOOD, CHARLES
" Acis and Galatea "
" Alexander's Feast "
"Israel in Egypt"
" Judas Maccabaeus "
"L' Allegro"
"Messiah"
"Creation"
"Gate of Life"
" The Witch's Daughter "
" A Hymn of Praise "
"Elijah"
" First Walpurgis Night "
" Hora Novissima "
" Blest Pair of Sirens " ...
"Job"
" St. Cecilia's Day "
" The Chivalry of the Sea "
" The Pied Piper of Hamelin " .
" War and Peace "
" The Promised Land " ...
" Song of Miriam "
" Last Judgment "
"Songs of the Fleet "
" Songs of the Sea "
" Stabat Mater "
" Golden Legend "
"Light of the World" ...
" A Sea Symphony "
"Requiem"
" Flying Dutchman " (Selection).
" Holy Supper of the Apostles "
"Lohengrin" (Selection)...
"Parsifal" (Selections) ...
" A Dirge for Two Veterans " .
2
i
5
i
i
45
3
i
i
4
23
2
I
2
I
I
I
I
2
I
2
I
I
3
i
10
i
i
2
I
I
I
2
I
There have in addition been six performances of Christmas
Carols during consecutive years up till 1918.
INDEX
PAGE
" A Christmas Carol " ... 36
Abbey Services, The 72, 333
Abinger, Lord 97
Adams, Prof. ... 289
Additional accompaniments 274
" Adeste fideles " 125
Agricultural Hall, The ... 41
Airraids 248,347
Albani, Madame 302
Albany, Duchess of 176
Albany, Duke of 126
Alcock, Dr. Walter G.
193, 206, 233, 254, 343
Alexandra, Princess 16
Allen, Dr. H.P 86
" Amorous Goat," An ... no
" Annabel Lee " ... ... 29
Apple barrel, The ... ... 8
Archbishops' Report, The 219, 336
Argyll, Duke of 240
Armagh Cathedral ... ... 70
Armes, Dr. P. 6, n, 15, 25, 159
Armistice, The ... ... 112
Arne, Dr 326
Arnold, Dr. Samuel ... ... 326
Articled Pupils 81
Ashwell, Lena 242
Associated Board ... ... 86
Aston, Mr 158
"At the Mill-dam " 93
Athenaeum Club, The ... 268
Atterbury, Dean ... ... 309
Attwood, Thomas ... 20, 86, 200
Australian correspondent ... 165
Aveling, Claude ... ... 86
Aylward, Theodore ... ... 267
B.A. degree 261
" Baal, we cry to thee " ... 15
Bach Choir, The 138
Bach's "Christmas Oratorio"
86, 121
Bach's " 48," Prout's words to 275
AA
Bach's G minor Fugue ... 249
Bach's " Passion " ... 64,72
Bach's " St. Ann" Fugue ... 15
Baillie-Hamilton, Mr. ... 117
Bainbridge,Rev. H. G.Daniell- 344
Baker, Dalton 216
Baker, Sir Benjamin ... 221
Balfe, Michael W. ... 197, 229
Balfour, A. J. ... 166, 294
" Banner of St. George, The" 173
" Bannerolles " (Pepys) ... 203
Bantry, Lady ... ... 225
"BarbeBleue" ... ... 45
Barham, Rev. R. H. ... 196
Barnby, Sir Joseph 64, 66, 72, 160
Barnby's Choir ... ... 273
Barry, Bishop ... ... 126
Bawling ... ... ... 10
Baynes, Sir Thomas... ... 266
Beaconsfield's Funeral Service 2
Beatrice, Princess ... ... 149
" Beauty retire " ... ... 203
Bellows v. Diaphragms ... 80
Bells, Westminster ... ... 329
Benecke, Madame Marie ... 139
Benedict, Sir Julius ... ... 278
Bennett, Joseph ... 60, 276
Bennett, Sir W. Sterndale 65, 341
Benson, Archbishop... ... 131
Berens, Mrs. ... ... ... 225
Berger, Francesco ... ... 278
Berlioz's "Faust" ... 62, 162
Berlioz's Te Deum ... ... 138
Bertie, Sir Francis ... 188, 269
Best, W. T 54
" Bidding Prayer," The ... 24
Bigge, Sir Arthur ... ... 223
Birch, C. B., A.R.A. ... 119
Birch (pastrycook) ... ... 267
Birmingham Festival Choir 343
Birth, Date of 3
Birthday Book, A 88
Black Bag, A. 132
354
A WESTMINSTER PILGRIM
Blaikley, D. J 289
Blind Fred ... ... i, 33
Bliss, Rev. W. H 50
Blow, Dr. John ... ... 323
Bluebell Hill 14
Boi'to ... ... ... ... 306
" Bold Turpin " ... 93, 253
"Bomba" (A. J. Balfour) ... 166
" Bombastes Furioso " ... 45
Borden, Sir Robert ... ... 220
Borland, Dr. John E. 186, 193
Bovey, Dr. H. T. ... ... 271
Bowling Alley ... ... 158
Boyce, Dr. W. 155, 201, 325
Bradford, Prof. J. R. ... 270
Bradley, Dean 102, 121, 135, 206
Braham ... ... ... 197
Briand, M. ... ... ... 269
Bridge, Prof. J. C. ... 6, 1 60, 195
Bright, John ... ... ... 138
British Pianoforte Industry 328
Brodrick, Sir A. ... ... 266
" Brook" family, The ... 38
Browne, Thomas ... ... 267
Browning, Robert ... ... 139
Bryan, Albertus ... ... 323
Buck, Dr. Zechariah ... 71
Buckland, George ... ... 30
Buffo-Song ... ... ... 29
Bull, Dr. John ... 147, 265
Bull Inn, The ... ... 35
Burne-Jones, Sir Edward ... 175
Busk, Sir Edward ... ... 269
Cabman Critic, A. ... ... 162
Cabrach District, The ... 105
Calkin, Joseph ... ... 145
" Callirhoe " ... ... 115, 303
Cambon, M 188
Cambridge, Duke of... ... 206
Campbell-Bannerman,SirH. 216
Canadian Festival ... ... 300
Canadian Visit ... 216, 296
Candle on the stairs, The ... 7
Canterbury, Archbishop of
170, 1 80, 193
Cardigan, Lord ... ... 20
Carl Rosa Opera Company 281
Carlisle Cathedral 6
PAGE
Carnegie Trust ... ... 341
Carpenter, Bishop Boyd
126, 136, 241, 245
Castle's Ship-breaking Yard 15
" Catch," A 93
Cathedral Music ... ... 332
"Cathedral Trusts and their
fulfilment" ... ... 24
Cawdor, The Countess ... 214
Caxton Celebration ... ... 89
Celestial (Electric) Organ 125, 318
Chants ... ... ... 33
Chapel Royal, St. James's ... 73
Chapel Royal, Children of the
Chappell, Arthur ... ... 130
Chappell, William ... ... 289
Charge of the Light Brigade 20
Charles I. ... ... ... 38
" Cheer, boys, cheer" ... 20
Chester Cathedral ... ... 6
Chichester Cathedral ... 15
Choir Benevolent Fund, The 12
Choir School, Rochester ... 5
Choir School, Westminster 5, 77
Choir Stalls, The 78
Chopin's hand ... ... 321
Chopin's Marche Funebre ... 124
"Choral Songs and Madrigals" 144
Chorister days ... ... 4
Choristers' Magazine, The ... 5
" Christ and His soldiers "... 137
Christian IX., King of
Denmark ... ... ...212
Christian, Prince ... ... 119
Christian, Princess ... ... 149
" Christmas Bells " ... ... 117
" Christmas Carol, A " ... 36
" Christmas Oratorio, The "... 120
" Chromatic Bullock " ... 39
Church House, The 17, 138, 190
Church Music ... ... 322
Clark, Richard ... ... 159
Clarke, A. D. ... ... 126,318
Clay, Dr. Reginald S. ... 328
Clayton, John R. ... ... 195
Clayton, Thomas ... ... 265
Cliffe, Frederic ... ... 233
Cobbett, W. W 120
INDEX
355
Cobham Hall ... ... 37
Coleridge, Arthur Duke 50, 140
Collaboration with Colleagues 332
College of Music, see Royal.
College of Organists, see Royal.
Collins, Col. R. H 176
Collins, Sir William... ... 269
Colonne Orchestra ... ... 271
"Comfort ye" ... ... 75
Common C(h)ord, The ... 152
Competitions for String
Quartet ... ... ... 120
Compton, Lord Alwyne ... 121
Contra-fagotto, The ... ... 122
Coodham ... ... ... 90
Cooke, Dr. Benjamin ... 326
Cooke, Robert ... 321, 326
Cooling Castle ... ... 13
" Coom oop" ... ... 58
Cooper, Wilbye ... ... 35
Corf e, Dr. W 48
Coronation Choir ... 185 et seq.
Coronation Choir Dinner ... 236
Coronation Music ... 182, 195
Coronation of Edward VII.
177, 182, 193
Coronation of George V. ... 231
Coronation of Queen Victoria 198
Coronation of William IV. ... 196
Coronation Service Book, The 195
Costa, Sir Michael ... ... 18
Costly rehearsals ... ... 129
Counterfeit Inspectors ... 106
Counterpoint ... ... ... 86
Coward, James ... ... 25
Coward, J. Munro ... ... 130
Cowen, Sir F. H. ... ... 233
Cox, H. Bertram ... ... 115
" Cradle of Christ, The " ... 150
Crawford, Sir Home wood
I 5 I > 237, 242
" Cressy," The ... ... 15
Crewe, Marquess of ... ... 144
Crews, C. T. D. ... 213,321
Cricket Match, A 80
Cricket Matches ... ... 37
Crimean War, The ... ... 20
Croft, Dr. W. 324
Cromer, Lord ... ... 222
Crook, Master (Chorister) ... 129
Crookes, Prof. William ... 169
Crossing the Atlantic ... 216
" Crossing the Bar "... ... 148
Crow, Dr. E. J. ... 11,20
Crystal Palace ... ... 18
Crystal Palace School of Music
83. 253
Cummings, Dr. W. H.
68, 159, 289, 278
Curwen, J. S ... ... 289
Cusins, W. G. ... ... 278
Customs, Old... ... ... 26
C.V.O. 235
D'Albert, Eugene 83
Dallam, Thomas ... 314, 318
Daniell-Bainbridge, Rev. H.
G., see Bainbridge.
Dare, Mr. (Lay-vicar) ... 69
Darnley, Lord ... ... 37
Darwin, Charles ... ... 124
Davies, Ben ... ... 245, 305
Davies, H. Walford 233, 341
Day, Thomas ... ... 323
Dead March in " Saul " ... 71
Deerstalking ... ... ... 109
Degree of Mus. Doc. ... 61
Degrees, University (Oxford) 261
Denman, Lord ... ... 242
Denmark, King of ... ... 212
Dering, Richard ... ... 229
Devonshire, Duke of ... 236
Diamond Jubilee ... ... 1 68
Dickens, Charles ... 35, 36
Dinner to Cathedral Organists 172
Disease and Music ... ... 103
Disraeli, B. ... ... ... 114
Distaffina ... ... ... 45
Dolby, Madame Sainton ... 29
Donkin, Prof. ... ... 48
" Don't Grumble " 82
Double Counterpoint ... 86
Doyle, Dicky ... ... 294
Dreadful noise ... ... 23
Dreams ... ... ... 62
Drum effects ... ... ... 71
Duckworth, Canon
65, 76, 120, 129, 229
356
A WESTMINSTER PILGRIM
Durham Cathedral
Dvorak, Antonin
PAGE
6
122
Eady, Sir C. Swinfen ... in
Edwards, F. G 328
" Edwin Drood " ... ... 9
" Eh ! but he's only a lad " 53, 69
Ekyn, Roger 47
Elder and the whisky, The ... 103
Electric Organ ... 125, 318
Elgar, Sir Edward ... 61, 233
"Elijah" ... 40,44, 121, 138
Eliot, Charles 150
Ella, John ... ... ... 142
Elvey, Sir G. J 43
Elwes, Gervase ... ... 161
Emergency Blowers ... ...152
Ernie, Lord, set Prothero,
R. E.
Esher, Lord ... ... ... 191
Eton College 43
Exeter Cathedral ... ... 6
Exeter Hall 40
Extempore playing ... ... 33
Faculty of Music, Manchester 55
Fallieres, M. ... ... ... 270
Falstaff, Sir John ... 35, 36
Fane, Sir Ponsonby ... 133, 190
Farleigh ... ... ... 14
Farmer, John... ... ... 137
Farrar, Canon... 136, 172 284
Father Smith (Bernard Smith)
56, 159, 314
"Faust" (Berlioz) 62
Faversham ... ... ... 42
Fawcett, Henry ... 126, 128
" Fayer bridge of stone " ... 21
Fellowships, Oxford and
Cambridge ... ... ... 341
Fenian outrages ... ... 132
Fielding, W. (alto) 12
Filthy lucre ... ... ... 33
Fireworks ... ... ... 7
Fishing ... ... n, 93
" Fishing Idyll, A " 93
Fishmongers' Hall ... ... 150
Fitzroy, Sir Almeric ... 232
" Flag of England, The " ... 1 72
PAGE
Flood Jones, Rev. S. 116, 343
Forster, W. E. ... ... 127
Foster, John ... ... ... 81
Fowler, Sir John ... ... 221
Fraser, Bishop ... 61, 66
Freake, Sir Charles J. ... 254
Freemantle, Mr. ... ... 283
Fricker, H. A. ... ... 219
Funeral Services 2, 121, 123, 139,
174, 175, 223, 238
Gad's Hill House ... ... 35
Galuppi ... ... ... 140
Gambetta's Funeral ... ... 124
Ganz, Wilhelm ... ... 284
Garcia, Manuel ... ... 292
Garcia, Miss Paula ... ... 292
Gardner, Charles ... 267, 278
Gauger, The ... ... ... 103
Gauld, James... ... ... 104
Geddes, Sir William... ... 103
German, Edward ... ... 233
"Gerontius" ... ... ... 60
Gibbons, Christopher 314, 323
Gibbons Festival ... 38, 213
Gibbons, Orlando
38, 212 et seq., 313, 321,
Gilbert, W. B .......
Gillie, A remarkable... ...
Gladstone, Lord ... ...
Gladstone, W. E.
47 7 1 . IJ 4> I22 >
Good Welsh accent, A ...
Glass, Valley of ... ...
Glen Urquhart ... ...
" Go it, youngster " ... ...
Godfrey, Percy ... ...
" Golden Legend, The " ...
Goldschmidt, Madame, see
Jenny Lind.
Goldschmidt, Otto 40, 1 18
" Good house, nice beds "
Good Welsh accent, A
"Goose, The" ...
Gordon, General Charles
Gordon, John... ...
Gore, Bishop
Goschen, Lord ...
Goss, John Jeremiah
, 269, 293
35
245
117
281
267
78
114
327
127,
INDEX
357
Goss, Sir John 2, 19, 25, 41,
53 et seg., 65, 86, 175, 200, 327, 340
Gounod, Charles ... ... 273
Gow, Dr. J 184
Gowers, Sir William ... 169
Grant, General ... ... 127
Greatorex, Rev. Edward ... 320
Greatorex, Thomas 124, 320, 326
Gresham Professors 267
Gresham Professorship 146, 264
Grey, Earl 217, 220
Grieg, Edvard ... 123, 307
Griffin, Thomas 267
Griffith, Rev. T. T. ... 16, 17
Griffiths, Dr 16, 23
Griffiths, Mrs. ... ... 23
Grouse driving ... 4, 107
Grove, Sir George
84, 167, 171, 256, 274, 289
Groves, Organ-blower ... 132
Grumbling ... ... ... 82
Guild of Organists, Canada 299
Guilmant, F. A 125
Hackett, Miss Maria ... 19
Hackney Choral Association 255
Hadow, Sir Henry ... ... 262
Halle Concerts ... ... 54
Halle, Sir Charles ... 62, 294
Halle's Choir... ... ... 343
Ham, Dr. ... ... ... 218
Hamilton, Lady ... ... 69
Handel Monuments ... ... 277
Harcourt, Sir William V. 83, 114
Hare, Augustus ... ... 69
Harriss, Dr. Charles 216, 299
Hart, Emma... ... ... 69
Hawkins, Dr... ... ... 23
Hawkins, Sir John ... ... 141
Hawtrey, Charles ... ... 45
Hawtrey, Rev. Henry ... 43
Hawtrey, Rev. John ... 44
Hawtrey, Rev. Stephen 43, 50
Hebdomadal Council ... 261
Hecht, Charles ... 62, 63
Hedley, John... ... ... 161
Helmore, Rev. Thomas ... 143
Hennell, E. W 321
AA*
PAGE
Higgs, James 252,289
Highbury Philharmonic
Society ... ... ... 255
Hiles, Dr. Henry 63
Hill, Sir Rowland ... ... 121
Hilton, Robert 128
Hine-Haycock, Rev. T. R. 345
Kingston (Organist) ... ... 323
Historical Extravaganza ... 30
Hoare, Sir Henry ... ... 47
Hole, Dean ... ... ... 170
Holidays ... ... ... 15
Holy Loch ... ... ... 90
Homage Anthem 180, 187, 193, 231
Hooper, Edmund ... 312, 322
Hopkins, Dr. E. J.
10, 16, 40, 54, 66, 172
Hopkins, John ... 9, 10, 25
Hopkins, John Larkin 4, 9, 25, 29
Hopkins, Mrs. ... ... 4
Hop-pickers ... ... ... 3
" Hot Cross Buns "... ... 26
Houghton, Lord ... ... 346
Houldsworth, Sir William
55 57. 90. 291
House of Commons ... ... 113
" How still and peaceful " ... 101
Howe, James ... ... 30
Howe, John ... ... ... 321
Hughes, H. M 246
Hullah, John 118,289
Hunt, H. (Organist and
Violinist) ... ... ... 213
Huxley, Prof. ... ... 294
Hydraulus ... ... ... 151
" Hymn of Praise, The " 44, 89
Hymn singing ... ... 101
Hymns A. & M 207
" I canna' sing fr' bukes" ... 59
"I'll sing like the little beggars
in front" ... ... ... 58
Imperial College of Science
and Technology ... ... 271
" In Memoriam" ... ... 46
" Ingoldsby Legends, The " 196
Ireland, Dean ... ... 124
Irvine, Dr. ... ... ... 24
358
A WESTMINSTER PILGRIM
Irving, Sir Henry
" It will be all right "
PAGE
233
IOO
Jack Wilson 68
Jackson, Alfred ... ... 81
jekyll, Charles 70
" Jerkins too matchlocks " 2
"Jingle, Mr." ... 1,35
Joachim, Professor ... 90,258
Johnson, Dr., and Flora
Macdonald ... ... ... 320
ohnston, Sir Charles ... 241
ohnstone, G. Hope ... ... 123
ones, Rev. S. Flood, see Flood
Jones.
Jones, T. E. ... ... ... 42
Joule, B. St. J. Baptist ... 53
joule, J. P 53
"Joule's Law" ... ... 54
Jubilee, Queen Victoria's ... 128
Jubilee Services 128, 136, 168
Keene, Charles
Keeton, Dr. Haydn
Kelvin, Lord ...
Kent Scholarship
King, Archdeacon
... 146
47, 49, loo
... 238
... 85
24
King Edward VII., Death of 222
King Edward Professorship 195
King, Henry ... 186, 213
King George V. ... ... 231
" King's Musick, The " ... 242
King's School, Rochester, The 24
Kipling, Rudyard 169, 173, 242
Kits Cotty House ... ... 14
Knight, Richard ... ... 265
Knighthood ... ... ... 1 68
Knolles, Sir Robert ... ... 22
Knollys, Lord ... ... 236
"La Pluie des Perles" ... 142
" Labby in our Abbey " ... 1 66
Labouchere, Henry ... 47, 166
Lafontaine, H. dela ... 242
Lancashire Collier, The ... 250
Lansdowne, Lord ... ... 1 88
Lascelles, Sir Frank ... 179
Lassus, Orlando di ... ... 322
Latin Commemoration Service 140
PAGE
Laurier, Sir William ... 220
Lawrence, Lord ... ... 120
Lay- Vicars ... 73 et seg., 335
Lay- Vicars' Salaries ... 74
" Le Bourgeois Gentilhomme " 45
Leeds Parish Church ... 51
Leslie, Henry ... ... 29
Liard, M 269
Lightfoot, Bishop ... ... 121
Limpus, R. D. ... ... 251
Lind, Jenny n, 40, 149, 294
Lister, Lord ... ... ... 238
Littleton, Alfred H.
118, 123, 152, 156, 171, 173
Littleton, Henry ... ... 277
Littlington Tower ... ... 67
Llandaff Cathedral ... 50,247
Lloyd, Edward ... 10, 233
Lloyd George ... 244, 246
Local Examinations ... 41
Locker, Fredk. ... ... 118
Lockhart's Picture ... ... 135
London Academy of Music... 268
" Lord hath chosen Zion,
The" 61
Lord Mayor's Procession, The 272
Lome, Marquess of ... ... 149
Lottery Ticket, The ... ... 63
Louise, Princess ... ... 241
Lucy, Sir Henry ... ... 347
Lushington, Henry ... ... 346
Lyall, Charles ... 276, 280
M.A. Degree ... ... ... 159
M.V.0 194
Maas, Joseph
13, 14, 29, 37, 127, 278 et seq., 286
Macdonald, Flora ... ... 320
Macdonald, Sir John... ... 299
Macdonnell, Sir Schomberg... 231
Macfarren, Sir George A. ... 288
Macfarren, Walter ... 6, 293
Mackenzie, Sir Alexander C.
157. 233, 293
Maclean, Dr. Charles ... 226
McNaught, Dr. W. G. ... 260
Macpherson, Charles ... 341
Madrigal Society, The 101, 140, 257
Madrigal Society, The Western 145
INDEX
359
Maidstone ... ... ... 14
" Maidstone " (Hymn-tune) ... 25
Malibran ... ... ... 291
Malvolio ... ... ... 45
Manchester 50 et seq., 290 et seq.
" Manzoni Requiem " ... 176
Maryborough, Duke of 225, 257
Marsham Street 158
Martin, Sir George C. no, 168, 195
Mass-Weddings ... ... 57
Maundy Service, The Royal... 240
Maurice, Rev. F. D. ... ... 43
" Me will sing heah" ... 285
Mears & Stainbank, Messrs. 329
Mechanics' Institute, Chatham 36
Memorial Organ ... ... 100
Memorial Services 138, 173, 175,
176, 206, 212, 222, 238, 240,
2 43> 3
Mendelssohn Choir ... ... 218
" Messiah " and Additional
Accompaniments ... ... 274
Methodist Hymn-Book ... 207
Miles, head verger ... ... 9
Milnes, Monckton ... ... 346
Mirror, Ingenious use of a ... 10
" Miss Roseleaf's Evening
Party" ... ... ... 30
Mitchell, John ... ... 154
Moliere ... ... ... 45
Monk, Dr. E. G 61
Morelli, Cesare ... ... 203
Morley, Thomas ... ... 322
" Mors et Vita" 127
" Morte d' Arthur " 304
Moulton, Lord ... ... 61
" Mount Moriah " 140
Mozart 88
Muniment Room 89, 214, 309, 330
Murray, Bishop ... ... 23
Music and Disease ... ... 103
Musical Antiquarian Society 268
Musical Association 142, 288
Musical Education ... ... 339
Musical Gestures ... ... 88
Musical Times, The ... ... 328
Musicians' Company... 118, 213
Musicians' Company's Exhi-
bition ... ... ... 150
Musicians' Company's Medal 118
My father ... ... 2, 134, 349
National Anthem, The ... 134
National Training School of
Music ... 83, 253, 256
Native humour 210, 211
Neukomm ... ... 200, 327
New Philharmonic Society,
The 268
Newey, Rev. John ... ... 267
Nicholson, Sydney H.
290, 291, 328, 346
"Ninety-five" ... 39,242
"Nineveh" ... ... 60, 302
Nixon, Rev. L. H 345
Nocturne, A. ... ... ... 115
Nordica, Madame ... ... 135
Norfolk, Duke of 178
Norwich Festival ... ... 305
Notre Dame ... ... ... 125
Novello, Clara 18
Novello's 86, 155, 195, 277, 327
"O God of Bethel" ... 101
"O sing unto the Lord" ... 12
Oakeley, Sir Herbert S. ... 66
Offenbach ... ... ... 45
" Old Cathedral too earthy
smell" ... ... ... i
Olding, Stephen ... ... 146
Oliphant, Mrs. 45, 50, 122, 139
Order of the Bath, The ... 238
Organ blowing ... ... 15
Organ lessons... ... ... 32
Organists' Benevolent League 339
" Oriana, The " ... ... 144
Osborne, G. A. ... 141, 289
Ouseley, Sir F. A. Gore
48 et seq., 59, 288, 299
Owens College ... 54, 253
" Paean of Wales, The " ... 245
Palmer, Mrs 108
Palmer, Sir Ernest ... ... 257
Paris, Visits to 124, 125, zbgetseq.
Parish Church Organists ... 338
Parnell, C. S. ... ... 114
360
A WESTMINSTER PILGRIM
PAGE
Parratt, Sir Walter 54, 61, 144,
157, 178, 186, 191, 193, 231,
233, 294
Parry, Sir C. Hubert H. 44, 84,
140, 154, 157, 183, 233, 235,
289, 293, 324
Parsons, John ... ... 322
Passion, Bach's ... 64,72
Pasteur, L 270
Paul & Co., Sir John Dean ... 23
Pearce, Archdeacon ... ... 120
Pearce, Dr. C. W 152
Pearson, J. L. ... 67, 157
Pepys Club 205
Pepys' Diary... ... ... 202
Pepys, Samuel ... 88, 266
Perosi... ... ... ... 163
Petty, Sir William 265
" Phantasy," first appearance
of the word ... ... 120
Philharmonic Society, New... 268
Philharmonic Society, Royal 278
Phillips, Henry 197
Pichon, M 269
" Pickwick Papers, The" 2, 36
Pierne, Gabriel ... ... 271
Pitt, Percy 162
Ponsonby, Sir Frederick ... 185
Portman, Richard ... ... 323
" Portraits and Souvenirs "... 306
Potatoes, Dvorak and his ... 123
Potter, Cipriani ... ... 65
Pownall, Frank 86
" Practising Boy " ... ... 4
Precentors ... 16, 333, 343
Prince Consort ... ... 253
Prince of Wales and the
Abbey Monuments ... 249
Princess Alexandra, Landing
of 16
Prior's Rent Book, The 89, 310
Private Theatricals ... 7, 45
Profeit, R. A. 149
Prothero, Canon
67, 76, 124, 128, 150
Prothero, R. E 209
Prout, Prof. Ebenezer
254, 262, 275, 289
" Psalms in HumanLife, The" 209
Public-School Boys ... ... 115
Punch, " The London
Charivari"... ... 146,166
Pupils, Articled 81
PurcellClub 268
" Purcell, Life of " ... ... 159
Purcell, Henry
158, 209, 212, 315, 323 et seq.
Purcell Festival 121, 153, 250
Purcell Memorial ... ... 157
Purcell Society ... ... 324
Purcell Sonatas ... ... 324
Purcell's Te Deum ... ... 153
Pye, Kellow J. ... ... 141
Pyne, Dr. J. Kendrick 290, 291
Queen Alexandra ... ... 246
Queen Anne's Bounty ... 158
Queen Victoria ... 18, 21, 36,
39, 128, 168, 175, 176, 198
Queen's College ... ... 48
Railway Travelling ... ... no
Randegger, A. 293, 303 et seq.
Recruiting Bands ... ... 241
"Redemption, The "... ... 124
Reeves, Sims... ... ... 29
Reform Bill, The ... ... 47
Regalia, Procession of the ... 194
Regnart, Sir Horace ... 159
Rehearsals ... ... ... 74
Reid, Hon. Whitelaw ... 238
" Remember this " (Anthem) 245
" Repentance of Nineveh " 60, 302
Richmond, Sir William ... 328
Richter 65
Ries, Louis N. ... ... 252
Ring & Brymer ... ... 267
Ringer's Bill, The ... ... 330
Ripon Cathedral ... ... 6
Robinson, Dean Armitage
177, 180, 186, 229
Robinson, John ... 316, 325
Rochester Boys as Organists 6
Rochester Cathedral i, 170
Rochester Choral Society 10, 85
"Rock of Ages" 115, 122, 127
" Rogues or Proctors " ... 26
Romberg's " Lay of the Bell " 1 1
INDEX
361
PAGE
Roper, E. S 343
" Rory O'More " ... 39,242
Ross, Rev. Duncan ... 100, 102
Rossall School 61
Royal Choral Society, The
44, 1 60 ft seq., 273
Royal College of Music 83, 252
Royal College of Organists
48, 251, 298, 339
Royal Institution 202
Royal Society of Musicians
127, 140, 145
Ruskin, John 176
Russell, Henry ... ... 20
Russell, Lord John 47
Ryle, Bishop
78, 176, 229, 234, 240, 348
Sacred Harmonic Society, The 277
St. Andrew's, Wells Street ... 15
St. Ann Fugue ... ... 15
St. Anne (Hymn-Tune) ... 325
St. Ann's Lane ... ... 158
" St. Francis of Assisi " 46, 122
St. George's Hall 268
St. George's, Windsor ... 43
"St. Ludmilla" 123
St. Margaret's ... ... 136
St. Mark's School ... ... 43
St. Paul's Cathedral 19, 168, 203
St. Peter's, Manchester ... 54
St. Peter's, Vere Street ... 43
St. William of Perth ... 2
Saint-Saens, Dr. C.
1 88, 270, 271, 306
Salaman, Charles ... ... 289
Salisbury, Marquess of ... 206
"Sally in our Alley" ... 166
Salmon-fishing ... ... 91
" Samuel Pepys Lover of
Music" 88
Santley, Sir Charles ... 122, 293
Savage, Captain 40
Sawyer, Dr. F. J 253
Scholarships ... ... ... 41
Schrider, Christopher ... 316
Scotland ... ... ... 90
Scott, Dr. ... ... 89, 309
Scott, Sir Gilbert 57
293
68
247
26
Semon, Sir Felix
Serpentine, The
Service Lists ...
" Seven Poor Travellers "
Shakespeare ... ... ... 245
Shakespeare's Tenor ... 68
" She Stoops to Conquer "... 45
Shepherd, Rev. W 16
Sheringham, Rev. J. W. ... 38
Shippen, Dr. E. ... ... 267
Shippen, Rev. Dr. R. ... 267
Shooting ... ... ... 92
Shoreham Church ... ... 126
Shorne 35> 37
Silas, Edward ... ... no
"Sir John Falstaff" Inn ... 36
"Sit down on him" ... ... 95
Sladen, Douglas ... ... 242
Slatin Pasha 112
Smart, Henry ... 54, 66
Smart, Sir George ... 178, 196
Smith, Father ...56,159,314
Smith, Montem ... ... 128
Smith, Sydney ... 19
Snodland ... ... ... 13
Southgate, Dr. T. Lea
120, 142, 152, 220, 242, 289
Spectacles ... ... ... 5
Special Services ... ... 243
S.P.G 158
Spohr ... ... ... ... 268
Stainer, Jack ... ... ... 93
Stainer, Sir John 48, 66, 83, 86,
118, 159, 171, 254, 258, 260, 262,
288, 341
Stamf ordham, Lord . . . ... 241
" Stand to your guns " ... 29
Stanford, Sir Charles V.
84, 138, 157, 233
Stanley, Dean
2, 64, 66, 71, 72, 76, 121, 127, 139
Stanley, Lady Augusta 66, 82, 121
Stephens, Charles E. ... 278
Stevens, Dean ... ... 23
Stevens, R. J. S 267
Stewart, General Herbert ... 225
Stewart, Sir Robert P. ... 54
Stingo 45
Stocks, Bass singer ... ... 57
36:
A WESTMINSTER PILGRIM
Stone, Dr. W. H
Storm in a tea-cup ...
Street, Edward
Street, G. E. (architect)
" Stretto maestrale "...
Strong, Dr. T. B.
Strood Church
Subscription Concerts,
Rochester ...
Suffield, Lord
Sullivan, Sir Arthur
19. 5. 8 3> 143. 2 54. 257
Ta ta, not Um ta
2/9
141
121
49
114
38
34 1
... 39
... 142
45
... 265
... 321
... 268
... 36
Tallis's Motett
Tarver, Frank
Taverner, John
Taylor, John ...
Taylor, Prof. Edward
Tchaikovsky ...
Teck, Duchess of ... ... 173
Temple, Archbishop... ... 193
Tenbury ... ... ... 59
Tennyson, Hallam 117, 126, 148
Tennyson, Lord ... 117, 148
" That old music chap at St.
Paul's" ... ... ...in
" That 's a beauty "... ... 18
" The Bleeding Nun" ... 27
"The Brook" ... ... 13
"The Goose" ... ... 117
The Mirror ... ... ... 69
"The Wolf" 59
" Thou art gone from my
gaze" 31
" Three blind mice " ... 122
Thynne, Lord John... ... 12
Thynne, Miss Joan ... ... 214
" To what base uses" ... 68
"Toby, M.P. " 347
" Too much pudd'n " ... 9
" Touching up the old 'un "... 276
Trench, Archbishop ... ... 127
Trinity Church, Windsor ... 46
Trinity College, London
195, 258, 342
" Triumphs of Or iana, The"... 144
Troutbeck, Rev. Dr.
64, 65, 102, 344
imvjrc,
Trustcott, Sir George ... 272
Tufton Street ... ... 158
Turle, James 42, 65, 67, 70,
71, 78, 102, 124, 200, 295, 327
Turle, Robert (Armagh) ... 70
Turnpike-keeper, The ... 14
Turpin, Dr. E. H. ... 252, 289
Tye, Dr. Christopher ... 101
Tyndall, Prof 83
University of London 195, 269
University of Paris 269
University of Toronto ... 219
University Professors ... 6
" Unto Thee have I cried "... 34
Vacuum cleaner, The ... 191
Vansittart and Vyse (M.P.'s) 47
Vauxhall Gardens ... ... 277
Verdi, Giuseppe ... ... 65
Victoria, Queen ...18, 21, 36, 39,
83, 128, 168, 175, 176, 198
Vidal, Paul 271
Visetti, Albert ... 83,254
"Vivats,"The 182,190,193,231
Vogt, Dr 218
Volunteer Band, The ... 38
Volunteer Review ... ... 39
" Vote for Roger " ... ... 47
Waiter correspondent ... 166
Wager, A lost ... ... 99
Wagner ... ... ... 65
Wallakirk 104
Warwick, Thomas ... ... 323
Water Organ... ... ... 151
Waterloo Veteran, A ... 21
Watson, William 85
Watts's Charity ... ... 26
Wax effigies ... ... ... 75
"Wax paint" ... ... 56
Welldon, Bishop 55, 177, 289
Wellington's Funeral, Duke of
I, 2, 21
Welsh Service ... ... 244
Wesley Commemoration 224, 226
Wesley, John ... ... 209
Wesley Mementoes ... ... 224
Wesley, Rev. Charles ... 225
INDEX
363
PAGE
Wesley, S. S 40, 51, 267
Wesley's Cathedral Anthems
16, 227
Wesley's " The Wilderness "
221, 267
Westcott, Bishop ... ... 126
Western Madrigal Society,The 145
Westminster Abbey ... ... 64
Westminster Abbey Chant
Book ... ... ... 327
Westminster Abbey Hymn-
Book ... ... 102, 149
Westminster Abbey Organ
126, 308
Westminster Abbey Organists 319
" Westminster Bridge " ... 175
Westminster, Duke of ... 175
" Westminster " (Hymn-Tune) 327
Westminster Scholars and
the "Vivats" 182, 190, 193,231
Wheatley, Dr. ... ... 202
Whist... ... ... ... 70
Whistler, J. A. McN. ...281
Whiston, Mr 24
Whitt, Master ... ... 321
Whytt, Robert 321
PAGE
Wilberforce, Canon ... ... 158
"William Tell" 65
Williams (a Chorister) n, 12
Williams, George Ebenezer
320, 326, 327
Williams, Lieut. Albert ... 243
Wilson, Dr 68
Wilson, Jack 68
Wilson (Manchester) ... 343
Winchester, Bishop of 170, 178
Windsor ... ... ... 43
Winter, W. J. ... ... 343
Wolfe Monument ... ... 300
Wood, Ralph ... ... 277
Wood, Reginald N 278
Worcester Festival 60, 121, 302
" Would be " Cooper ... 35
Wright, C. (Clerk of the
Works) 158
Wylde, Dr. Henry 268
" You are an ass " .
Young, Filson
Young Recruit, The
" Your father sings "
82
290
39
3
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ML Bridge, (Sir) Frederick
410 A Westminster pilgrim
B847A3
1919
Music